Hilary Lloyd (*1964 in London) points the lens of her camera at the showplaces of urban life, capturing the modern city as a place of voyeurism, fetishism, and sexual ambivalence. In long-term studies she has created striking sequences of people involved in the daily rituals and routine gestures of self-expression. Craftspeople, waiters, skaters, and club-goers are the objects of her examination, as are ordinary objects and buildings or plants and flowers. This is supplemented by abstract colors and shapes that recall fluid quicksilver or shards of glass and rotate like bright, concentric circles. The installations, which are often accessible, are made up of monitors and projections elegantly and carefully positioned in the space, thus achieving a presence of their own and enveloping the viewer not only in the world of images, but also in their manifestation as media-based and tangible objects. Exhibition schedule: BALTIC Centre for Contemporary Art, Gateshead, October 21, 2011-January 8, 2012 | Museum fur Gegenwartskunst, Basel, May 12-September 16, 2012

Making a movie has never been easier. Use this storyboard book to create your movie using its panels to draw the scenes and the dialogue boxes to write the narration.

Canadian artist Kelly Richardson (*1972) belongs to a new generation of artists working with digital technologies to create hyperreal, symbolically highly charged landscapes. Her series of digitally-born works Pillars of Dawn imagines a desert landscape in which environmental conditions have crystallised the terrain. The series presents a scenario in which we might have to look beyond our current planet for refuge and survival, and they raise myriad questions about how we arrived as such a moment of environmental crisis.

en Lauschmann's work is informed by his interest in the earliest forms of magical entertainment and the latest technical innovations. In his largest solo exhibition to date, he explores the use of tools, techniques and systems to solve problems, with the aim of bypassing the tension between optimistic and sceptical attitudes towards technology. Startle Reaction uses Lauschmann's interest in automatons and cinema to play with the notion that we are capable of believing in things we know are false.

An investigation of the cultural and academic discourse around new technology through a lens of artistic practice In 1970 Japanese engineer Masahiro Mori introduced the concept of the uncanny valley as a terrain of existential uncertainty that humans experience when confronted with autonomous machines that mimic their physical and mental properties. As subjectivities are increasingly organized and shaped by algorithms that track and evaluate our data, the question of what it means to be human has shifted. The featured artists mine the tropes and modalities of AI and machine learning for critical and aesthetic potential, proposing new ways of thinking about intelligence, nature, and artifice.

For more than two decades, players have led the zerg, protoss, and terrans into battle for galactic dominance in StarCraft, StarCraft II, and multiple campaign expansions. The Cinematic Art of StarCraft offers a detailed view into the history and philosophy of Blizzard's revolutionary cinematics team. Focusing on the craft and storytelling of cinematics and filled with anecdotes from the creators, The Cinematic Art of StarCraft gives fans a unique peek into the cinematics that have wowed millions of fans across the Koprulu sector.

The Britpop movement of the mid-1990s defined a generation, and the films were just as exciting as the music. Beginning with Shallow Grave, hitting its stride with Trainspotting, and going global with The Full Monty, Lock, Stock and Two Smoking Barrels, Shaun of the Dead, and This Is England, Britpop cinema pushed boundaries, paid Hollywood no heed, and placed the United Kingdom all too briefly at the center of the movie universe. Featuring exclusive interviews with key players such as Simon Pegg, Irvine Welsh, Michael Winterbottom and Edgar Wright, Britpop Cinema combines eyewitness accounts, close analysis, and social history to celebrate a golden age for UK film.

A celebration of the longest-lasting independent film company that STILL hasn't made a hit! For over FORTY YEARS, Troma Studios has blazed its own bloody, slime-covered trail, making movies their own damn way! From The Toxic Avenger to The Class Of Nuke 'Em High to Poultrygeist to Tromeo And Juliet, Lloyd Kaufman never compromised, waving his independent freak-flag freely, and helped jumpstart the careers of luminaries such as James Gunn, Trey Parker, Eli Roth, Oliver Stone and countless others! How, you might ask, did a couple of rebels with almost no cash manage to make a library of a THOUSAND films? You'll have to pick up this incredible collection to find out, featuring never-before-seen film stills, rare posters, candid interviews, and buckets and buckets and BUCKETS of fake blood...

With the aim to help teachers design and deliver instruction around world films featuring child protagonists, Cultivating Creativity through World Films guides readers to understand the importance of fostering creativity in the lives of youth. It is expected that by teaching students about world films through the eyes of characters that resemble them, they will gain insight into cultures that might be otherwise unknown to them and learn to analyze what they see. Teachers can use these films to examine and reflect on differences and commonalities rooted in culture, social class, gender, language, religion, etc., through guided questions for class discussion. The framework of this book is conceived to help teachers develop students' ability to evaluate, analyze, synthesize and interpret. The proposed activities seek to incite reflection and creativity in students, and can be used as a model for teachers in designing future lessons on other films.

This third, updated and expanded edition of Christiane Paul's acclaimed book investigates key areas of digital art practice that have gained in prominence in recent years, including the emergence and impact of location-based media, interactive public installation, augmentive and mixed reality, social networking and file-sharing and tablet technologies. It explores themes raised by digital artworks, such as viewer interaction, artificial life and intelligence, political and social activism, networks and telepresence, and issues surrounding the collection, presentation and preservation of digital art. It also looks at the impact of digital techniques and media on traditional forms of art such as printing, painting, photography and sculpture, as well as exploring the ways in which entirely new forms such as internet and software art, digital installation and virtual reality have emerged as recognized artistic practices.

An examination of how artists have combined performance and moving image for decades, anticipating our changing relation to images in the internet era. In Performing Image, Isobel Harbison examines how artists have combined performance and moving image in their work since the 1960s, and how this work anticipates our changing relations to images since the advent of smart phones and the spread of online prosumerism. Over this period, artists have used a variety of DIY modes of self-imaging and circulation-from home video to social media-suggesting how and why Western subjects might seek alternative platforms for self-expression and self-representation. In the course of her argument, Harbison offers close analyses of works by such artists as Robert Rauschenberg, Yvonne Rainer, Mark Leckey, Wu Tsang, and Martine Syms. Harbison argues that while we produce images, images also produce us-those that we take and share, those that we see and assimilate through mass media and social media, those that we encounter in museums and galleries. Although all the artists she examines express their relation to images uniquely, they also offer a vantage point on today's productive-consumptive image circuits in which billions of us are caught. This unregulated, all-encompassing image performativity, Harbison writes, puts us to work, for free, in the service of global corporate expansion. Harbison offers a three-part interpretive framework for understanding this new proximity to images as it is negotiated by these artworks, a detailed outline of a set of connected practices-and a declaration of the value of art in an economy of attention and a crisis of representation.

Over the last century, society has witnessed a dramatic shift away from industrial employment, where profit was largely achieved via physical labour to that in which money is made from mental exertion. In this original and provocative book, Maria Walsh contends that modern neo-liberal conditions have created a world of precarity, in which labour is expendable, material success is essential and technology means that the old work-life balance no longer exists. Even artists, she argues, who previously believed themselves to be removed from the commercial realm, have found themselves labelled as commodities whose work can be marketed for financial gain. In order to process their trauma, and that of the precariat at large, Walsh asserts that moving-image artists have created a slew of works that perform therapeutic techniques such as REBT (Rational Emotive Behaviour Therapy) and VRET (Virtual Reality Exposure Therapy) that allow creators and viewers to acknowledge and surmount the increasing cases of depression, anxiety and post-traumatic stress disorder that precarity and instability have wrought upon modern life. Walsh's case studies ensure that this book is useful for students and scholars in the areas of art, philosophy and aesthetics, or those studying the therapeutic qualities of art.