Word: visualizing
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Dates: during 2000-2009
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Besides having a child-like charm, this style means also to be instantly absorbable. It turns comix images into their most basic signifiers. After all, how much visual information do we need to know we are seeing a horse or car? And in Porcellino's case, it perfectly reflects the almost Zen quality of his writing. At the end of "Mountain Song" a muskrat (scarcely more than an oval with a line at the back) slips into a pond. Wordlessly, Porcellino then draws several panels of vaguely abstract images that could be either details of the pond or even increasingly...
...first DJ in history to win one, two, three years consecutively!" Just as writers like Thomas Pynchon spin out novels that are a blend of literary references (it's no coincidence one of the main characters in The Crying of Lot 49 is a radio DJ), just as visual artists like Lee Krasner have created collages of bits of older paintings (she even used pieces of her husband Jackson Pollock's canvases), Craze's work is simultaneously an assault on tradition and a tribute to what's gone before. His listeners get the future and the past in stereo...
...have a way of evaluating musicians that I like to call the MOVE theory. M is for music, O is for objective, V is for visual recognition, E is for entertainment value or how a band plays live. How do the Roots stack up? Right...
...time jobs, trade-school classes and cramped apartments. The vehicle they believe will help them achieve this temporary expansion of their consciousness: majikku masshurumu?magic mushrooms?shriveled bits of psilocybin-filled fungi that will first make them a little nauseous and then incredibly stoned, their world melting into a visual cacophony of whirls, polka-dots and pixels...
...have to deliver images that audiences have never seen before," says Cats & Dogs' director Lawrence Guterman. "It has to be funny--otherwise there's no movie--but at the same time you have to deliver something new." That effort has gone on for two years, since Guterman and visual-effects supervisor Ed Jones went to work with animal trainers, puppeteers and three special-effects houses, including Rhythm & Hues, which made a pig talk in the Babe movies through a process called face replacement. That means putting a digital face on footage of a real animal and moving its mouth with...