Thank you for seeing this art work. I experimentally made this music. If there is an opinion When it gives me the report, it is glad=) http://www.myspace.com/atsushi0103

Avant-gard short film

automatic check-out counter in a supermarket in Usami, Japan. you do everything by yourself...宇佐美のスーパーのセルフレジ。

automatic check-out counter in a supermarket in Usami, Japan. you do everything by yourself...宇佐美のスーパーのセルフレジ。

stupid heat ear phone

custom made machinery

o vizită tipică a cocalarului la baie

The findings during the neurological examination in infancy, especially in the newborn period, differ markedly from those present in children and adults. There are number of specific reflex activities so called infantile automatisms, found in the normal newborn that disappear in early infancy. Reflexes are an involuntary muscle reactions to a certain type of stimulation and their absence in the neonate, or the persistence of some beyond their expected time of disappearance may indicate severe central nervous system dysfunctions.

Partial seizures begin in a limited area of the brain, but each is profoundly different.

Video by Funeral Dress, a Belgian punk band. Video animated by Maarten Meylemans. Enjoy. Lyrics: hey you, understand quit now, start again time to shut down automatism time to let it fly when I get up, late AM I know, what I want something more than a sketchy life I know I want it all and I won't compromise, the big little white lie! [Chorus:] Freedom, Freedom, Freedom and Liberty Freedom, Freedom, Freedom and Liberty one chance, one road you better look for your own, the gift of life is a wasted present if you don't succeed! Think, act, choose wisely, don't hurt anybody; that's the only groundrule people, one law for the FREE! and I won't compromise, the big little white lie! [Chorus] [Chorus] when you got no hope and a broken soul, and blind ambition took your heart, get up, hey, step into Freedom and Liberty!"

Inspirited in Gras, song for the Germany band Kammerflimmer Kollektief, Rômulo Michaelsen develop extensive visual stimulations provide by you're automatism physique. No official video band!!! Official site: [http://www.kammerflimmerkollektief.de/ ] Orkut Community: [ http://www.orkut.com/Community.aspx?cmm=1440174 ] ... Inspirada na musica Gras da banda alemã Kammerflimmer Kollektief, Rômulo Michaelsen desenvolve uma extensa estimulação visual provida de seu automatismo psíquico. Não é um vídeo oficial da banda, mas sim um experimento visual totalmente independente.

Joan Miró i Ferrà (April 20, 1893 -- December 25, 1983) was a Spanish (Catalan) painter, sculptor, and ceramist born in Barcelona, Catalonia, Spain to the family of a Goldsmith and Watchmaker. His work has been interpreted as Surrealism, a sandbox for the subconscious mind, a re-creation of the childlike, and a manifestation of Catalan pride. In numerous interviews dating from the 1930s onwards, Miró expressed contempt for conventional painting methods and his desire to "kill", "murder", or "rape" them in favor of more contemporary means of expression. Young Miró was drawn towards the arts community that was gathering in Montparnasse and in 1920 moved to Paris. There, under the influence of the poets and writers, he developed his unique style: organic forms and flattened picture planes drawn with a sharp line. Generally thought of as a Surrealist because of his interest in automatism and the use of sexual symbols (for example, ovoids with wavy lines emanating from them), Miró's style was influenced in varying degrees by Surrealism and Dada, yet he rejected membership to any artistic movement in the interwar European years. André Breton, the founder of Surrealism, described him as "the most Surrealist of us all." Miró confessed to creating one of his most famous works, Harlequin's Carnival, under similar circumstances: "How did I think up my drawings and my ideas for painting? Well I'd come home to my Paris studio in Rue Blomet at night, I'd go to bed, and sometimes I hadn't any supper. I saw things, and I jotted them down in a notebook. I saw shapes on the ceiling..." In 1926, he collaborated with Max Ernst on designs for Sergei Diaghilev. With Miró's help, Ernst pioneered the technique of grattage, in which he troweled pigment onto his canvases. Miró married Pilar Juncosa in Palma de Mallorca on October 12, 1929; their daughter Dolores was born July 17, 1931. Shuzo Takiguchi published the first monograph on Miró in 1940. In 1959, André Breton asked Miró to represent Spain in The Homage to Surrealism exhibition together with works by Enrique Tábara, Salvador Dalí, and Eugenio Granell. By not becoming an official member of the Surrealists, Miró was free to experiment with any artistic style that he wished without compromising his position within the group and being accused of not being a "true" Surrealist. He pursued his own interests in the art world, both within and between groups which politicked and jockeyed for prominence. Miró's artistic autonomy, in that he did not adhere to any one particular style, is reflected in his work and his willingness to work with several media. In an interview with biographer Walter Erben, Miró expressed his dislike for art critics, saying, they "are more concerned with being philosophers than anything else. They form a preconceived opinion, then they look at the work of art. Painting merely serves as a cloak in which to wrap their emaciated philosophical systems." Joan Miró won several awards in his lifetime. In 1958 he was given the Venice Biennale print making prize, in May 1959 the Guggenheim International Award, and in 1980 he received the Gold Medal of Fine Arts from King Juan Carlos of Spain.

Este montaje de LEGO es una copia de un trabajo de Iain Hendry: http://www.youtube.com/watch?v=-a4XnUKPmT0 This LEGO assembling is a copy from a work by Iain Hendry: http://www.youtube.com/watch?v=-a4XnUKPmT0

Hold the baby horizontally and prone in one of your hands. Stimulate one side of the baby’s back approximately 1 cm from the midline along a paravertebral line extending from shoulder to the buttocks. This produces a curving of the trunk toward the stimulated side, with shoulders and pelvis moving in that direction. Pelvic response to stimulation of the back and flanks should be symmetrical. This reflex is absent in transverse spinal cord lesions or injuries.

無精卵として生まれし玉子の解放詩

Starting in the supine position, the baby is pulled by the arms to the sitting position. The head and the arms are observed during the maneuver. The arms should remain partially flexed at the elbow and the head may lag behind the trunk. When the baby is in the sitting position, the head should be able to come to the upright position for at least a few seconds before dropping forward or backward. Watch the sternocleidomastoid muscles which should bilaterally anticipate the pull to sit; the head flexes for a moment before head lag occurs.

Crawling reflex can be stimulated by placing the neonate prone on a flat surface. The neonate will attempt to crawl forward when the sole of his feet are touched. Voluntary crawling begins around 7 months.

This is a slideshow covering secret number three in Salvador Dali's book 50 Secrets of Magic Craftsmanship. Secret number three is the Slumber with a Key. The Slumber with a Key, as presented by Dali is a form of conditioning for lucid dream induction. Salvador also use the resulting hypnagogic imagery as inspiration. The slideshow can be downloaded here: http://ithinktherefore.net/final/modules/PDdownloads/singlefile.php?cid=3&lid=7 The PDF I'm using as source material is here: http://ithinktherefore.net/final/modules/PDdownloads/singlefile.php?cid=3&lid=6 Please rate the video even if you do not like it.

Stimulate the palm of the baby's hands and observe the reflex grasping of your finger. Stroke the sole of the foot, and the toes will flex and curl around your examining finger. Make sure that the response is not inhibited by unintended stimulation of the dorsal aspect of feet and hands. Persistence of the palmar grasp reflex beyond 6 months suggests cerebral dysfunction. It should be noted that babies normally hold their hands clenched during the first month of life. Persistence of the fisted hand beyond 2 months also suggests central nervous system damage.

1998-2002 mostly improvised/unfocused drawings (some of them automatic drawings in the surrealist -automatism- sense), doodles, made while i was in class at film school (i need to be paying attention to something else while i draw in order to make a real improvised drawing). After graduating in 2002, my 'output' decreased dramatically ;) Sometimes tv helps me. http://www.flickr.com/photos/aleix_pitarch/ http://aleixportfolio.tripod.com/ http://en.wikipedia.org/wiki/Doodle http://en.wikipedia.org/wiki/Automatic_drawing

http://artfail.com/automata/ "If only I could move through time as freely as I can move through space." -- This thought has been especially prevalent in my mind throughout my years in graduate school. I felt it was only fitting that my graduate thesis evolve out of it. There is much conjecture about time manipulation, the possibilities, the impossibilities and the paradoxes. I wanted to find a system that was not bound by time in the same manner we are. That system came in the form of reversible Cellular Automata. Cellular Automata (CAs) are simple graphic self-generating mathematical algorithms. These algorithms exhibit emergent, even lifelike, behavior, which can be very complex even when the rules they follow are quite simple. Reversible Cellular Automata follow rules such that taking a step forward in time is as simple as taking a step back. The Irreversible Automata in this piece are you and I. If you are a researcher in the field of Artificial Life, or a subscriber to the philosophy of Universal Automatism this is not an unusual assumption. The other assumption I make is that we are in fact trapped in a forward-moving linear chronology. Besides the strictly philosophical arguments, there exist some conjectures in quantum mechanics about the breaking of causality when it comes to entanglement and "spooky action at a distance". In my macro-world, day to day struggle, however, time-does-exist as an unbreakable restraint. The basis for the work is these two opposing systems. One system unbound by time, and the other (the one I live in) bound by time. The question now was: How do these two systems really function? The answer to this problem came in Joel Slayton's foreword to Media Ecologies by Mathew Fuller: "...to discover or reveal the determinates of any complex system is to collide it with another." - Slayton Media Ecologies p. ix I thus began developing a mechanism for colliding these two systems together. What would happen to causality if such a collision were to occur? Could causality, at least in concept, be bent or broken? I needed the resulting project to be an environment where the underlying computation of each system was exposed to the computation of the other. Opening people to CAs is one issue, but opening CAs to people is another. For the human element to absorb the computation of the cellular automata, we had to want to absorb it. The environment needed to present the CAs in an engaging and aesthetic incarnation. Cellular Automata cannot be enticed to absorb a foreign computation in the same way that we can. I had to expose their innards to the air. Using an elaborate system, I extracted key elements of their algorithms from the inner workings of the computer, the black box they normally reside in. Using a monitor, camera and 192 LEDs I opened up the Cellular Automata algorithm to the natural world in such a way that we human computations were able to freely inhabit it. Both systems now occupied a single reality. The music clip is Xtal by Aphex Twin

André-Aimé-René Masson (January 4, 1896 -- October 28, 1987) was a French artist. Masson was born in Balagny-sur-Thérain, near Senlis in Picardy, but was brought up in Belgium. He studied art in Brussels and Paris. He fought for France in World War I and was seriously injured. Masson's early works display an interest in cubism. He later became associated with surrealism, and he was one of the most enthusiastic employers of automatic drawing, making a number of automatic works in pen and ink. Masson would often force himself to work under strict conditions, for example, after long periods of time without food or sleep, or under the influence of drugs. He believed forcing himself into a reduced state of consciousness would help his art be free from rational control, and hence get closer to the workings of his subconscious mind. From around 1926 he experimented by throwing sand and glue onto canvas and making oil paintings based around the shapes that formed. By the end of the 1920s, however, he was finding automatism rather restricting, and he left the surrealist movement and turned instead to a more structured style, often producing works with a violent or erotic theme, and making a number of paintings in reaction to the Spanish Civil War (he associated once more with the surrealists at the end of the 1930s). André Masson drew the cover of the first issue of Georges Bataille's review, Acéphale, in 1936, and participated in all its issues until 1939. Under the German occupation of France during World War II, his work was condemned by the Nazis as degenerate. With the assistance of Varian Fry in Marseille, Masson escaped the Nazi regime on a ship to the French island of Martinique from where he went on to the United States. Upon arrival in New York City, U.S. customs officials inspecting Masson's luggage found a cache of his erotic drawings. Denouncing them as pornographic, they ripped them up before the artist's eyes. Living in New Preston, Connecticut his work became an important influence on American abstract expressionists. Following the war, he returned to France and settled in Aix-en-Provence where he painted a number of landscapes.

The noted abstract artist discusses the nature and nurturing of his work.

It goes back when it reaches an obstacle. Find out more things on www.knex.tk

This is a slideshow covering secret number three in Salvador Dali's book 50 Secrets of Magic Craftsmanship. Secret number three is the Slumber with a Key. The Slumber with a Key, as presented by Dali is a form of conditioning for lucid dream induction. Salvador also use the resulting hypnagogic imagery as inspiration. The slideshow can be downloaded here: http://ithinktherefore.net/final/modules/PDdownloads/singlefile.php?cid=3&lid=7 The PDF I'm using as source material is here: http://ithinktherefore.net/final/modules/PDdownloads/singlefile.php?cid=3&lid=6 Please rate the video even if you do not like it.