El verde esencial de la clorofila, símbolo de la vida y la renovación, es el hilo conductor de una colección que se desliza por la atmósfera floral de la primavera. Una sucesión de piezas maravillosas que captan la energía de la luz y la transforman en vestidos de ensueño con vibrantes colores.
“Para mí la fotosíntesis de la moda consiste en transformar un tejido en un elemento tridimensional que cobra vida, logrando atraer nuestra atención y deseo”, explica el diseñador.
La colección CHLOROPHYLL eleva la esencia femenina, envolviéndola en delicadas gasas volátiles y descubriendo a la vista los famosos bustiers invisibles, seña de identidad de la casa. Una nueva interpretación de las reconocidas obras hechas a mano con la que la firma se dio a conocer en la década de los años 80.
En un ambiente cuajado de referencias clásicas pero también de atemporalidad, encontramos una sucesión de elegantes vestidos de tarde y noche con sofisticados drapeados delineados con formas sinuosas y aparentemente sencillas, capaces de esculpir la silueta con maestría y precisión.
Les hommes et femmes virtuoses en coulisses des défilés: comme les brodeurs et plumassiers.
Sophie Jovillard part à la découverte des hommes et femmes inconnus derrière les trésors de la haute couture, de Chanel à Saint Laurent, en passant par Dior, Valentino, Schiaparelli et Alexandre Vauthier. Chacun de ces créateurs a inventé un univers original et son propre style, a apporté sa pierre à lhistoire et à la mythologie de la mode. Chacun, à sa manière, a écrit une page de cet art de vêtir avec pour seul mot dordre, lexcellence. Tous ont inscrit leur nom en lettres dor dans le patrimoine culturel et artistique français à laide dartisans dexception encore inconnus. ocumentaire de Sophie Jovillard et Anne Gautier (2016)
Max Cooper:
For the «Yearning for the Infinite» project I looked for different ways of visualising the infinite, interspersed between imagery of humans in endless pursuit. For one chapter I wanted to visualise the digits of a transcendental number, thought to be endless and non-repeating. Martin Krzywinski specialises in visualising these digits amongst many other things, and one of my favourite images is his tree map of pi, which presents this endless nested chaos in beautiful visual form. I wanted to map that growing randomness and chaotic detailed structural form to the piece of music, so I collaborated with the great music software developer, Alexander Randon on a special tool which allows the construction of musical fractals and many other complex melodic forms. With this tool I started the piece with a simple melodic structure, which is iteratively broken down into more and more complex melodies as the tree map breaks down the initially simple first digit into more and more complex sub-structures. With the aesthetic as a whole becoming this sea of interacting notes, partly random, but with a global form emerging eventually, as the circle is embodied by the chaos of the digits of pi.
Nick Cobby collaborated with Martin to bring this idea to life in animated form for the visual show, with a hyper-detailed tree map structure growing all around the audience. And if youre interested in the ideas behind this I delved into this chapter in some detail in a recent blog essay here (which also comes as a poster with Martins tree map image inside the album vinyl package): maxcooper.net/transcendental-tree-map
Martin Krzywinski:
The transcendental tree map encodes the first 20,244 digits of Pi = 3.1415...7012.
The construction of the map begins with dividing the canvas with 3 vertical lines, which forms 4 rectangles. Each of the four rectangles formed by this process is divided with 1, 4, 1 and 5 horizontal lines, respectively. This forms 2 5 2 6 = 15 rectangles. Each of the 15 rectangles is divided by vertical lines according to the next 15 digits of Pi. This process repeats until we have performed the loop 7 times.
The division of each rectangle is not even—the positions of the lines are slightly jittered. This gives the map a more organic feel.
The number of digits encoded in each loop is 1, 4, 15, 98, 548, 2,962 and 17,180. In total, 17,180 vertical and 3,064 horizontal lines are drawn and these form the backbone of the map.
The video is created by layering numerous animations of the construction of the map, in which the rate and order of line growth is varied. Blinking rectangles indicate that the lines for a digit have completed drawing.
Original tree map and animation clips by Martin Krzywinski.
Compositing, coloring, synchronization and other post-processing by Nick Cobby.
Nick Cobby:
The challenge with Transcendental Tree Map was to bring to life Martin Krzywinskis amazing scientific visualisations of Pi. They are so dense and complex, that a considered approach was needed to ensure the computer systems could handle all the information and still maintain clarity. We had a twofold approach, using automated coded sequences from Martin and then manual digital manipulation and editing from me. Using both a generative and manual approach parallels the juxtaposition of order and randomness inherent in Martins work, and the hypnotic music Max created.
Although all Martins sequence outcomes are different, they all start with the principle rule of Pi, and when placed on top of each other, they all occupy the same grid space allowing layering and using some of the sequences as alpha channels to reveal others underneath. At any one time there are up to 30 sequences running at once. At times I wanted it to look more organic, with line tracers drawing like roots of a tree, or holes appearing in the data then glitching back to its organised structure, like its constantly battling itself. When the visual is at its peak, the construction and destruction of the order of the tree map is constant, and the notion of the infinity is revealed through the endless visual possibilities.
The transcendental tree map was originally created for 2015 Pi Day (http://mkweb.bcgsc.ca/pi/piday2015/posters.mhtml) by Martin Krzywinski (http://mkweb.bcsgc.ca) (@MKrzywinski), who has been creating Pi Day art (http://mkweb.bcgsc.ca/pi/piday.mhtml) since 2013. Martin is a staff scientist at Michael Smiths Genome Sciences Centre at BC Cancer (http://www.bcgsc.ca) where he works on data visualization.
Max Coopers Seething is a musical version of human intensity, complemented visually in this video by Andy Lomass presentation of the seething, unstoppable and unrelenting propagation of life.
The simulation work originates from Andy Lomas study titled cellular forms, which uses digital simulation of a simplified biological model of morphogenesis, with three-dimensional structures generated out of interconnected particles to represent cells.
Each form starts with a initial spherical cluster of cells which is incrementally developed over time by adding iterative layers of complexity to the structure. The aim is to create forms emergently: exploring generic similarities between many different shapes in nature rather than emulating any particular organism, revealing universal archetypal forms that can come from growth-like processes rather than top-down externally engineered design.
Cell division is controlled by accumulated nutrient levels. When the level in a cell exceeds a given threshold the cell divides, and various parameters control how both the parent and daughter cells re-connect to their immediate neighbours. New nutrient can be created by photons in cells hit by incident light rays. Nutrient can also be allowed to flow to adjacent cells. The simulation process is repeated over thousands of iterations and millions of particles, with each of the final structures comprising over fifty million cells.
00:04 — 04:41: Nutrient created using omni-directional diffuse light
04:41 — 05:50: Nutrient created using light from directly above growing forms
02:01 — 04:28: Blue overlay indicates regions of new cellular division
02:34 — 03:09: Magenta overlay indicates accumulated nutrient levels in each cell
03:09 — 03:39: Red overlay indicates number of photons hitting each cell
Документальный проект, приуроченый к 400-летию избрания на царство Михаила I Федоровича и воцарению на Руси дома Романовых.
Более 300 лет династия Романовых правила на Руси и в Российской империи. С именами 18 русских царей и императоров рода Романовых связаны самые яркие страницы русской истории, становление и укрепления могущества русского государства.
Каковы были русские цари? Как приходили они к власти и что оставили после себя? Что вообще представляло собой русское самодержавие как система управления? Каковы ее недостатки и преимущества?
Проект рассказывает о роли, которую монархи дома Романовых играли в событиях российской и мировой истории. О судьбе каждого из царей, его жизни и деятельности, о достоинствах и недостатках, ошибках и достижениях, поражениях и победах. И главное, о том, как менялся облик государства Российского под их скипетром.
Каждая серия посвящена периоду правления одного или нескольких царей дома Романовых.
Формат: историческая реконструкция
Жанр: докудрама
Год производства: 2013
Количество серий: 8
Режиссер: Максим Беспалый
Сценарий: Марина Бандиленко, Марина Улыбышева
Оператор-постановщик: Иван Бархварт
Композитор: Борис Кукоба
Продюсеры: Валерий Бабич, Влад Ряшин, Сергей Титинков, Константин Эрнст
Онлайн-кинотеатр StarMedia на YouTube www.youtube.com/starmedia
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Лучшие русские фильмы и сериалы, лучшие мелодрамы, военные фильмы, новинки кино, фильмы с русскими и английскими субтитрами — смотреть онлайн бесплатно в хорошем качестве в онлайн кинотеатре StarMedia на YouTube. Приятного просмотра!
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