O Vivo art.mov – Festival Internacional de Arte em Mídias Móveis – chega à sua quarta edição em 2009 seguindo o objetivo de explorar a utilização das mídias móveis como ferramentas de arte, experiência e informação. O festival conta com simpósios, exposições, workshops, mostras e performances audiovisuais.

Esse ano, o eixo central do art.mov é “Geografias Imaginárias”, na busca pelo entendimento dos novos espaços informacionais do mundo atual, da inserção e papel das mídias móveis nesse contexto. Com essa idéia de mobilidade, o art.mov também procura desdobramentos físicos, se expandindo em âmbito nacional, com programações em Belo Horizonte (11 a 15/11), Salvador (16 a 21/11), Belém (10 a 12/12) e Porto Alegre (11 a 13/12).

Uma das atrações do art.mov é a Mostra Competitiva, que reune microfilmes produzidos em câmeras de pequeno porte de realizadores de todo o Brasil. Em 2009, 47 trabalhos foram selecionados em cerca de 400 inscritos. A variedade dos formatos é grande, com microfilmes abstratos, humorísticos, narrativos, dentre outros. Os vencedores ganharam celulares com capacidade multimídia, e os primeiros lugares foram premiados também com quantias em dinheiro. O vencedor da votação online foi o vídeo “Get your fish!”, de Nayara Macedo e Giselle Galvão, e que você confere abaixo:

“Get your fish!” consiste em uma compilação de imagens do cineasta norte-americano David Lynch captadas durante sua passagem por Belo Horizonte. Os quadros são fragmentos da palestra realizada no auditório da reitoria da Universidade Federal de Minas Gerais no dia 6 de agosto de 2008.
____
Para saber mais sobre o art.mov entre em: http://www.artemov.net/

Every Tuesday and Saturday morning streets all across Milan are closed off for the markets.

Carts line up through the streets with men screaming “un euro, un euro, tutto solo un euro! una carta solo due euro!” Vegetables, cheese, meat, make up, cashmere sweaters, and boots for €20 euro – all sold at a discount price in these open air markets. After my first week in Milan I wondered how the Milanese could afford to pay for everything at such an escalated price – there was no Target, no Wal-Mart, no Costco. Then I found out about these markets. They are packed every time.

I stood behind a grandpa who just bought literally three bags of large green apples, which the vendor dropped into his shopping cart. I bought a bag of tomatoes, garlic, pears and clementines all for €5. I love these small moments when I feel so very Italian.

After dropping off my purchases, I tossed  a few Clementines into my purse before heading out to La Scala.

La Scala is a name known worldwide. Even my uncultured self knew of it before coming to Milan. As an opera house, the theater shows ballets, operas, and classical orchestra and is home to world renowned ballet dancers and opera singers. “La Scala” literally means The Ladder, and can be found on the family crest of Regina della Scala, wife of the Duke of Milan during the 16th century, who built many of the city’s important features including a church which then took after her name, Santa Maria alla Scala.

Centuries later Milan’s theater Regio Ducale burned down after a gala and the rich box-holders clamored for a new theater. The then empress Maria Theresa of Austria decided to destroy the Santa Maria church and build the new theater there instead, which adapted its name from the church and was called La Scala.

It was much different in the 1700s. The wealthy box holders would decorate their own boxes according to their liking while a gallery was built above the boxes for the common people called the loggione. Here everyday commerce happened with horse dealings, gambling salons and kitchen foyers where servants cooked meals and refreshments for the box-holders and their guests. Since then La Scala has undergone a thousand renovations, once after the bombing of World War II, which tore through the roof and the walls. During this reconstruction, an enormous blown-glass chandelier was added that had 365 lights, one for each day of the year. They say it’s so large that a man can fit inside of it.

Because the original layout of the house didn’t have seats in the loggione or even the main floor, not all the seats in the theater actually have a view of the stage.

And as luck would have it, I bought a ticket for the loggione (where the poor people used to sit and still do, i.e. me) and was in the topmost corner of the U. The theater seats are in the shape of a U with the center being the base. From where I was sitting I had a fabulous view of the chandelier, but the stage was absolutely nowhere in sight. Like at all.

When the theater lights shut off and the doors closed at exactly 8 pm I left my seat and walked towards the center of the U. Everybody else was also standing in the back and as I was thinking how awful it would be to have to watch Giselle standing up I found a seat in the front row! Yay me!

Giselle was beautiful! I can’t underline, bold or italicize it enough. 

It’s about a girl who is sought after by two men (of course). The first is a peasant boy who leaves flowers at her window. The second suitor, however, is richer, handsome, and a better dancer (he was the male lead). As the story goes, the richer, better looking one gets the girl. They fall in love, they wish to be together. Then something terrible happens. It’s confusing, it’s dramatic, Giselle gets heartbroken and in a whirling crescendo of twirls and faints, she dies by the end of Act I. 

I nearly cried. 

The second act begins with the lover visiting her grave and is haunted by beautiful ghost ballerinas all in white dresses. The scene ends with the ghost of Giselle and her lover having one final dance together before she disappears.

This was my favorite part.

 Oh I wish I were a ballerina. 

Just sharing some pics from today…

Agnes wearing SLDoll ensemble:

Giselle wearing trico fashion & Knife’s Edge jewelry:

Poppy wearing Tiny Kitty fashion:

Jessica e Giselle

Cacau

Rachel Blanc

Luana, Juliana e Vanessa

Angra Reis

Catia Carvalho

Renata Banhara

Vivi Castro

Nathaly


Rafaela Mar

Gabriela Bernardoni

Vanessa Vanzella

For lunch I had another homemade pizza. When you live alone, recipes often make more food than you need, so to save money you have to eat the large batch for several days.  I’m doing that with the pizza dough I made the other day.

-Lunch-

pizza dough –472  (a lot, yet still less than a TBell 7 layer burrito.  Alas, the universe is unfair.)

1 c. mozarella –320

1/4 c. pizza sauce –30

1 onion –64

Total for lunch: 886

-Supper-

Lasagna –350

Why was I eating like an Italian today?  Don’t know.  But I’m not sorry because it was so good.

I was thinking today about how I’m going to handle “the holidays.”  By “the holidays,” I mean Thanksgiving and Christmas, of course.  I decided that I’m going to have approximately 5 days of “unrestricted, go insane and eat whatever” food.  Those days will be: Thanksgiving and the day after Thanksgiving, Christmas Eve, Christmas, and the day after Christmas.  I will faithfully blog all the days leading up to them, and I may even blog about them, but I don’t won’t be posting about what I eat because I won’t be paying attention.  Some of you might think that this is a bad strategy, but I’m thinking that, while it might set me back a tiny bit, it will be worth it because I know I won’t be going over other days.

On an unrelated note, has anyone noticed Tom Brady’s mullet?  I mean it really is getting ugly.

Ok so that’s not him, but it might as well be.  At first I thought his helmet was just short in the back, but now I think it’s a full blown mullet.  Sort of like Kate Gosslin’s reverse mullet, only forward.  I’m watching the Colts / Patriots game and the mullet is bothering me.  Isn’t he, like, married to Giselle?  Shouldn’t she be telling him that mullets are not so hot?

The world may never know.

O crescimento do mercado na área de cinema de animação, quadrinhos e games tem aumentado a busca por literatura especializada e com foco acadêmico, o que gerou a produção do livro Animação 3D, HQ e Games – Conexões e Mercado, lançado pela 2AB – Editora da área de Design e Arquitetura, de autoria de Rodrigodraw Miguel. O livro trás uma abordagem prática sobre influentes autores e suas criações ao longo da história destas artes, nos fazendo entender o fenômeno que ocorre na indústria milionária dos filmes, jogos e personagens de HQ nos últimos anos e nos indicando a melhor forma de estarmos preparados para o mercado de trabalho.
Tive o privilégio de fazer a revisão do livro em parceria com outros profissionais.

A 2AB é uma editora brasileira especializada em Design desde 1997, tendo publicado obras de autores consagrados neste segmento como a Designer Lucy Niemeyer, com o título Design no Brasil: origens e instalação. Atualmente a 2AB Editora é referência para profissionais da área, universitários, pesquisadores e professores que precisam ter à disposição obras com temas relevantes neste setor.

Para saber mais: http://www.2ab.com.br/Produtos.asp?ProdutoID=542

 

Público do Festival

Entre as obras de cinema de animação, quadrinhos e literatura infantil em exposição no festival encontrava-se o livro O Grande Resgate, que chamou a atenção da garotada e do grande número de acadêmicos e estudantes da área de educação.

Ok, so I didn’t jump though hoops in the www.abbywinters.com Hula Hooping Girls shoot (although my blonde friend Roxy may have been a circus seal in a past life!) but I did learn some sweet moves…

See all six of us practice our nude hooping moves at www.abbywinters.com. You should also pop on over to OMG… so sexy! for your handpicked Monday free porn fix.

Mami Jewell of Azul has caught my discerning eye yet again.. I love to find textures with as much detail as possible in any outfit that I buy and when I do I get excited because I know how much work must go into the skill and thought of design and fine art of creating from scratch to finished product.

Giselle is a stunning gown perfect for the blushing bride. Available in six fabulous colours. Two skirt options give the wearer a perfect choice. Both beautifully styled in semi transparent silk with exquisite embroidery detail to a deep border pattern on each skirt panel. A band of silk pinched into pleats circles the waist and completes the look.

A delicately embroidered semi transparent chest puff is worn over a shaped corset of relaxed silk pleats. Off the shoulder embroidered sleeve puffs look so pretty with small flexi bows to each for an extra feminine touch.

The back of Giselle is as gorgeous as the front. Styled with a beautiful flexi bow and laced feature to nip in tight and give us all a tiny waist. Delicate embroidery to the chest and sleeve puff continues to further enhance this stunning gown.

Hidden beneath (though not shown here)a surprise awaits.. sheer silk stockings cover long long legs finishing with a narrow band of finely thread embellished stocking top…. beautiful!!…

Take a limo to Azul and check out more of Mami Jewell’s fabulous designs

Azul Blog

Other Items::
Hair by Exile
Skin by Bebae
Jewels by JMB
Poses by Material Clover & Ks2Cool

Mami Jewell of Azul has caught my discerning eye yet again.. I love to find textures with as much detail as possible in any outfit that I buy and when I do I get excited because I know how much work must go into the skill and thought of design and fine art of creating from scratch to finished product.

Giselle is a stunning gown perfect for the blushing bride. Available in six fabulous colours. Two skirt options give the wearer a perfect choice. Both beautifully styled in semi transparent silk with exquisite embroidery detail to a deep border pattern on each skirt panel. A band of silk pinched into pleats circles the waist and completes the look.

A delicately embroidered semi transparent chest puff is worn over a shaped corset of relaxed silk pleats. Off the shoulder embroidered sleeve puffs look so pretty with small flexi bows to each for an extra feminine touch.

The back of Giselle is as gorgeous as the front. Styled with a beautiful flexi bow and laced feature to nip in tight and give us all a tiny waist. Delicate embroidery to the chest and sleeve puff continues to further enhance this stunning gown.

Hidden beneath (though not shown here)a surprise awaits.. sheer silk stockings cover long long legs finishing with a narrow band of finely thread embellished stocking top…. beautiful!!…

Take a limo to Azul and check out more of Mami Jewell’s fabulous designs

Azul Blog

Other Items::
Hair by Exile
Skin by Bebae
Jewels by JMB
Poses by Material Clover & Ks2Cool

This month all of the pictures I post will be in black and white; I’m participating in Black and White November. It has nothing to do with anything other than photography, but for those interested, it is an idea originating with springtreeroad.com, and there is an associated flickr group. So if you’re surprised to suddenly see only b&w pics on this blog, there you go, that’s why.

Last weekend at the sanctuary I was captivated by the turkeys. The arrival of the three new turkeys has changed the dynamic in mostly interesting ways. The three new arrivals are more active, spend more time outside – they are younger, and that might be one reason. Since they are outside more, it seems that Victor and Gertrude are outside more often as well. Opal prefers to stay inside, basking in the sunshine she can find in the barn.

Victor is still the head honcho of the turkey tribe, but Hugo and the two females he came with tend to stick together. I was thrilled when I saw one of them part way up in a tree on Saturday. It was exciting to me to see something like that, it was such a wonderful bird thing for her to do. Dave says that they sometimes go higher up in one of the other trees. I’d love to see it.

It highlights some major differences between the new arrivals and the turkeys like Victor and Opal. The new arrivals, much like Gertrude, are much smaller, much more mobile and agile. They were perhaps bred for entertainment or for a certain look as opposed to immense size. Opal and Victor, on the other hand, have the mangled genetics that came from the human desire to have them grow as large as possible as quickly as possible. Their bodies are too large. Opal is further hindered by the fact that her toes were partially amputated.

So as Gertrude, Hugo, Giselle, and the not-yet-named third new arrival hop nimbly onto perches, and trot through the yard, or climb a tree, Victor and Opal limp ungainfully around.

It breaks my heart to see.

And yet….and yet, Victor doesn’t want my pity or my heartbreak. He struts, chest puffed out, feathers on constant display, his snood long and colorfully ostentatious. He circles around us, making sure he is always noticed. “Here I am!” his limping strut seems to say, his trills and puffing of air announcing his presence.

I was videoing the new three on Saturday when I heard the tell-tale trill followed by “poof!…thump…thump….poof!…thump…thump” to my left and slightly behind me. I stayed where I was, and sure enough Victor came around me, strutting, and making sure that we are all aware that no matter how pretty and fascinating the newcomers are, it is Victor who we should all be taking note of.

Victor makes me smile. It is heartbreaking what has been done to his body and the bodies of his unlucky brothers and sisters who are sent to slaughter at a few months of age, but Victor himself? He is the victory, the rescued one, the safe one, the proud one.

Giselle
Ballet-Théâtre de Saint-Pétersbourg
Paris, Théâtre des Champs-Elysées
28 octobre 2009

Pour la troisième année consécutive, le Ballet-Théâtre de Saint-Pétersbourg se produit au Théâtre des Champs-Elysées, son désormais “fief” parisien. Après nous avoir présenté en mai dernier Le Lac des cygnes, sans aucun doute son ballet-phare, et La Bayadère, la compagnie de Konstantin Tachkin nous revient cette saison avec deux autres grands classiques du répertoire russe, Giselle et Don Quichotte. Comme pour Le Lac et La Bayadère, ces deux ballets nous sont proposés dans leur version traditionnelle, russo-soviétique et pétersbourgeoise, très proche dans la forme et dans l’esprit des productions chorégraphiques que l’on peut voir à l’affiche du Mariinsky. A cet égard, on ne pourra que louer cette petite troupe itinérante de maintenir, envers et contre toutes les sirènes – parfois hurlantes – de la modernité, un répertoire et un style, en dépit de moyens parfois limités, en s’en tenant à une tradition, sans chercher à la simplifier, à l’arranger ou à l’adapter à un hypothétique goût occidental. Bien sûr, dans le paysage parisien, le SPBT fait figure de totale incongruité, jusque dans ses programmes géants sur papier glacé aux traductions maladroites ou cocasses et ses photographies aux couleurs saturées, mais qu’importe le flacon, Irina Kolesnikova, l’étoile enivrante et sans égale de la troupe, vaut beaucoup plus que tous les préjugés culturels ou urbains…

La critique complète sur Dansomanie

Fairy tale lovers and fashionistas will be thrilled to hear the Emirati label Kanzi will premiere their new collection Monday evening at Dubai Fashion Week.  The collections should conjure up a healthy dose of “once upon a time” and “happily ever after” thoughts with bright colors, beautiful fabrics and an eye for detail.  Emirates Business article said: 

“A line of abayas, jalabiyas and evening wear, the collection was designed with immaculate tailoring, whimsical shapes, stunning beading and embroidery, and each individual piece is lovingly and painstakingly handcrafted, says Kanzi’s Raghda Taryam.

The name, “Fairytales”, comes from the thoughts and images conjured up when the collection is seen in entirety.

The collection seeks to explore in detail the concept of dreams, with each piece set to appear like a floating, stunningly crafted experiment that merges unique shapes and forms.”

Kanzi’s fashions may be stunning but for some, they may be financially out of reach.  For those of you who are looking for inspiration or something within your budget, check these pics and their links out.

"Cinderella" inspired look.

For more fairy tale inspired looks, check out Mermaid in a Manhole: Fairytale Fashion.

Disney’s Fairy Tale Weddings reveals Giselle’s gown, with several other stunning selections.

Lolliblog features “High Fashion to Weddings” with works from Tim Walker.

Etsy also has several charming fairy tale accessories to complete your look.  Enjoy!

Solo imágenes con algún comentario

Alexander Skasgard en la premier de la obra de broadway que estelariza Siena Miller

Alexander Skarsgard en una fiesta

Anne Hathaway, en un bonito Marc Jacobs, en una gala

Belinda disfrazada de monja en la telenovela Camaleones

Bradley Cooper y Renee llegando al aeropuerto con maletas carísimas

Chuck Bass muy delgado en una exposición de arte

Cobra Starship en una fiesta de Victorias Secret

Fergie de fiesta en las Vegas

Giselle muy gorda paseando en NY

Gwen Stefani en una gala

La hermanita de 9 años de Miley Cyrus (sin comentarios)

I Carly en la fiesta de cumpleaños de Hello kitty

Ian Somerhalder con su cara de gay en la revista August

James Franco en una fiesta en honor de la directora creativa de Gucci

Katy Perry muy sensual en un concierto de Mika

La familia Wentz paseando en California

La "mini me" de Madonna viendose "curiosita"

La perdida de Lindsay en la inauguración de un club

Eñ sexy Mark Ronson en una fiesta en honor de la directora creativa de Gucci

A Miranda Kerr, la novia de Orlando Bloom, se le sale un pezoncito en una sesión de fotos

Pete Wentz en la fiesta del cumple 35 de Hello kitty

Ponchito Herrera disfrazado de padre con todo y canitas, en Camaleones

Rose Mcgowan, una super estrella solo en su cabeza, en la premier de una peli

Sienna Miller, vestida asi, en el estreno de su obra de teatro

Susan Boyle con el pantalón desabrochado en el partido de algún deporte

Tom mandó al diablo la dieta en el set de su próxima peli

O maior acontecimento editorial do país, a Bienal do Livro do Rio, recebeu a visitação estimada de 640 mil pessoas em seus onze dias de evento. A Bienal chegou ao Riocentro em 1987 para ocupar os seus 15 mil metros quadrados com muito entretenimento e variedades para os fãs da leitura. Na versão 2009 obteve uma estimativa de venda em torno de 2,45 milhões de livros, ampliando em sua programação as formas de contato do público com os livros. 

Bienal do Rio 2009

Parabéns aos expositores, em especial a CPAD, pelo excelente espaço e pela qualidade na apresentação dos seus produtos, visando sempre fazer o melhor para o crescimento do Reino de Deus. Na oportunidade, a obra O Grande Resgate foi destaque como um dos lançamentos do ano e a criançada que ainda não conhecia o livro teve o primeiro contato com os personagens da turminha do Firula.

My Knife’s Edge Jewelry arrived! Hooray!  As I’ve stated before, I really love Amber’s unique design & quality craftsmanship.  I also love the care she takes to package the jewelry too and so I took a quick pic for ya’ll to see.  If you see something you like, see my previous post about how to order this wonderful jewelry!  And as always, plenty more pics on my flickr page…

Giselle thought she’d model the Moon ‘n’ Stars set with her new Trico puff jacket & skirt.

My mini Livewire wanted to wear her newly restyled Mio wig (from the FR Con) with the Fort Knox mesh jewelry set.

NEW Princess shoes for dress up / halloween – $5

• Location: xxx
• it’s NOT ok to contact this poster with services or other commercial interests

Nome completo : Giselle Itié Ramos

Data de nascimento : 3 de outubro de 1981(28 anos)

Autura : 1,72m

Busto 90cm

Cintura : 62 cm

Peso : 59kg

Veja as fotos dela

While over this side of the channel we continue to bury ourselves in Mayerlings and other fall season balletic offerings, Paris Opera Ballet  has returned to the Palais Garnier from their summer break with the eternal Romantic classic Giselle. As they are just a couple of hours away by Eurostar, our friend Juliet Ashdown could not resist the lure of a daytrip. Here she shares some impressions of last week’s performance:

Mathias Heymann and Dorothée Gilbert in a rehearsal of Giselle. Source: Syltren.blogspot.com Copyright belongs to its respective owners.

It has often been remarked that the Paris Opera Ballet dancers might seem cold in their interpretation of ballet classics which prioritizes classical excellence over drama. It is true that in this Giselle, adapted by Patrice Bart from the original choreography by Jean Coralli, Jules Perrot and Marius Petipa, the first act mime is not conveyed as clearly as in Sir Peter Wright’s production for the Royal Ballet and it is also true that the dancers lack a certain warmth overall, but they more than make up for it with their stylish dancing.

Fortunately Alexander Benois’s staging leaves them more room to display all this style, with the two huts set further back in the stage and a backcloth with a castle far in the distance, making the Royal Ballet’s sets seem cluttered by comparison.  The colours for sets and dancers are also brighter here, with creams, reds and greens.  The peasants’ dresses are longer and floaty, although it is a pity that the puffed sleeves should give them such an aristocratic air.

While Dorothée Gilbert’s more reserved Giselle did not act out the most poignant mad scene I have ever seen,  she really came into her own in Act 2, so assured and elegant, her first développé into arabesque long held and rock solid. She dazzlingly travelled though her series of backward entrechats and in the main pas de deux with Matthias Heymann’s Albrecht, she was enthralling, ethereal.

22-year old Heymann, POB’s newest (and youngest) étoile had only recently debuted as Albrecht. He was excellent, his grief totally embodied in the role, his dancing fautless. His jumps are very powerful but understated enough to show the grim situation he finds himself in whilst overpowered by the Wilis. However, there was nothing understated about his flawless series of over 30 entrechats-six, which earned him an enthusiastic  mid-performance ovation.

From left to right, étoiles Matthias Heymann and Dorothée Gilbert and Premiere Danseuse Stéphanie Romberg. Source: POB © Copyright belongs to its respective authors.

The 2nd Act of Paris Opera Ballet’s Giselle is one of the most beautiful I have ever seen, not only because of the perfection of their strong corps who present us with a superb Wilis scene but also thanks to the gorgeous sets and costumes. The Wilis’ tutus are of the lightest fabric and look more shimmery than those worn in the Royal Ballet version, their veils disappear all at once thanks to crafty pulling from the stage wings.  In the background we see the ruins of an abbey and Giselle’s grave has a large cross from which we see her rise.

Yet, it is not just the stagecraft but the little details, like Myrtha’s (Stéphanie Romberg) chilling crown which looks like ice from the back of her head or the way she bourrées forward so silently, so ghost-like, that make this Giselle such an endearing production.

Juliet Ashdown

The Wilis in Paris Opera Ballet's production of Giselle. Source: syltren.blogspot.com Copyright belongs to its respective owners.

This is a review for the matinée performance held on October 10, 2009 at the Palais Garnier. Giselle is in repertoire until the 12th of October. Casting available from the Paris Opera Ballet’s Website.

http://www.brianlichtenberg.com/

Brian Lichtenberg is amazing.