This woman is a computer generated animation by Image Metrics. Pretty amazing. Though I do wonder if being able to reproduce a real person like this is a good use of time and resources? The Times Online has more details. The makers say 90% of the work is in convincing people that the eyes are real, lending even more weight to what puppet makers and lovers know about the eyes being the window to the soul.
Previously: Uncanny Valley
The Pacific School Games will be held in Canberra this year, from 30 Nov to 6 Dec. About 5000 primary and secondary school students from Australia and Pacific countries will be competing. I made their mascot, a bunyip, which was launched a few weeks ago. Here is a photoset of the making process. I like the way its tail waggles the best:
Photos from my studio yesterday, and the elephant drying by the fire overnight.
Prompted by seeing the movie Paradise Road again recently, I’ve been chatting to a long time friend about instances of art sustaining people in dire circumstances. In real life, and well before the movie, the women’s chorus that she used to sing with had recreated the music for the first time since it was sung in the prison camp. I mentioned the puppet play story Gary Friendman is making into a documentary, Looking for a Monster, and she pointed me to I never saw another butterfly, a book of art and poetry by children at the Theresienstadt concentration camp in Terezin CZ.
So this is how I found the The Butterfly Project, an activity being run by the Holocaust Museum Houston to try collecting 1.5 million handmade butterflies, the same number of children who died in the Holocaust. You are invited to create and send in handmade arts-and-crafts butterflies, which will eventually comprise an exhibition, currently scheduled for Spring 2012. At the moment they have about 400,000 butterflies.
Seems like an idea that the internet craft communities might like to latch onto – Whip Up!, Craft.
My little kinetic sculpture of the lovely Twitter Fail Whale, based on the image by Yiying Lu that is used when twitter.com is over-capacity. The image is called ‘Lifting up a Dreamer’. I’ve wanted to make this since I first saw the image some weeks ago.
This is a short video of it in action, complete with twittering birds!
More photos here. (Update: fail whale widget here)
I remain optimistic and supportive of Twitter in the long term, because I think the real-time courier service rationale that was the founding impetus of the service constitutes a new branch off Doc Searls’ live web, and makes our online interactions a quantum step closer to Allen Searl’s original vision of ‘a Web where anybody could contact anybody else and ask or answer a question in real time’. Twitter’s track facility, presently down but still promised, provides the real-time search of people and and what they are talking about right now.
Maybe the progression of branching-off goes a little like this:
static web > live web > real time web
google > blogosphere > twittosphere
our property > our history in time > our real-time conversation
search by sending out bots> search by listening for pings > search by tracking people and words in real time
It may be that Twitter’s primacy will be usurped by some other real-time service that gets up ahead of them in the race; I hope not. But many great progressive ideas start off serendipitously or in fun without their full implications or potential being known, and in those circumstances it’s silly in hindsight to say the founders ought to have seen further, planned better and acted quicker than they did.
FoldUScandidate has patterns for card finger puppets of the three US candidates. You print from a pdf and the assemble as shown. Check out the videos and photos that some people have submitted of their puppets.
On the last day of Unima 2008 Gary introduced me to his friends Adrian Kohler and Basil Jones, who co-founded and continue to run Handspring Puppet Company, and I was lucky enough to go backstage to see the puppets from Woyzeck on the Highveld. Thank you all!
The play itself had been a festival highlight for me. First staged 16 years ago, it tells the story of Woyzeck, a man of sensibility and principle, who is brought down by jealousy; but his struggle is informed in every way by the hardships of the migrant labour system under apartheid in the South Africa of the 1950’s.
Two aspects of the show intrigued me in particular.
One was the power of director William Kentridge’s back-projected animations which formed part of the backdrop to the set. They provided not only physical settings to the action and shadow puppets, but at times gave excruciating visual metaphors for what characters were thinking and feeling. For instance, in one scene, Woyzeck is worrying about setting his master’s table. He is doing fine in reality, but in contrast, as he gets increasingly anxious about doing it perfectly, the animation shows great smudges and spills amassing into a chaos that ends in, among other things, a plane crashing and burning.
The other was, of course, the puppets. They are bunraku-style puppets, with beautifully expressive carved (and hollowed out) wooden heads and hands. Adrian is the master puppet maker and designer. He explained how after touring Woyzeck extensively for some years, the company saw selling the puppets as the only way to move on to doing new work. Their latest production, Warhorse, would have been too big to tour, and fortunately, to their surprise, the Munich City Museum was happy to lend the puppets back for the gig at Unima 2008.
Margaret (?), Andries, with the accordion, and Maria with her baby:
The Miner:
The mysterious newspaper death-like character:
Adrian Kohler with the Miner, explaining how the implements in his hand can be changed:
The rhino, showing the rods and mechs on the operator’s side. There is a universal joint in it’s sternum. The red bulb is it’s bladder! (not to be confused with the 2 red chairs in the background).
Here is a video of the rhino in action. You can hear Gary and Adrian chatting.
I loved the rhino most, because it has so much character, and moves in such a life-like way, while being impressionistic in style. I’m very interested in this. Kohler has developed the style much further, too, since building the rhino, as you can see if you look at the horses in Warhorse. Warhorse is the first production where Handspring has moved away from performing their own work, and Adrian commented there were advantages in being solely a maker at times, rather than being a maker/puppeteer.
Incidentally, Handspring is hoping to bring out a DVD of Woyzeck, including the animations, and there is to be a new season of Warhorse in London later in 2008. There’s just a chance I might around to catch it!
Articles I enjoyed reading about Handspring:
I’ve made a set of photos and notes that I took during Nori Sawa’s masterclass that I did at Unima 2008. Nori Sawa is a Japanese puppeteer, designer and maker who now works and teaches at the Academy of Performing Arts in Prague, and he taught us how to make a Ningyo-Joruri head. This is much the same as a traditional bunraku puppet head, having a neat neck mechanism and trigger in the handle so that the head has a smooth up-and-down action, which together with a shoulder plate that sits loosely locked around the neck (we didn’t have time to make this), gives the character a very flexible head and neck movement.
There were six of us doing the class (from Canberra, Melbourne, Hobart, Adelaide, Sydney and Alice Springs – how’s that for a good national spread?) and it went over the first 3 1/2 days of the festival. For me it proved a good way of learning some new skills and settling into the festival and getting to make some new friends, including Naomi Guss, whose blog I have been reading for some time now. It was good to finally meet her in person, and spend some time with her.
(Naomi and Nori, Kristen, Jill, Kathy, Frances and Vanessa (one of the organisers) – click to enlarge)
The making process involved sculpting a clay head; making a plaster mold; creating a hollow paper mache head by paper mache-ing inside the two halves of the mold and joining the resulting paper shells; shaping and joining the wood to make a handle, trigger and neck; stringing the trigger mechanism; and finally situating and attaching the neck into the head with an axle and elastic for return on the trigger. A lot to achieve in the time – we had a battle to get each stage dry and used hairdryers borrowed from our hotels, a microwave, the sun, and eventually a pie warmer to get there! I loved the moment when we sealed the two halves of the head together with white glue and a small red hot iron – it still seems magical to me that that works so well!
This is my puppet head in action. The clip is a little clumsy, since I was filming and operating, but it gives the idea. I haven’t decided what kind of finish to give it yet. I will at least paint the eyes.
Some aspects I don’t want to forget: The tradition in these puppets is for the chin to be prominent, and the focus of the puppeteer is on the chin, it leads the action. The eyes have a flat surface that is angled down; when the face lifts up you see the whole eye this way, and it lightens the whole character and mood. The action of the puppet and each movement it makes is that of a circle or infinity; this kind of choreography gives grace and life.
Sadly we didn’t get to see Nori perform because on the way to Australia his bag of puppets became one of the 16,ooo items lost at the choas of the shambles that is the new Heathrow Terminal 5. I’d love one day to see some of his contemporary puppets and shows that fuse Japanese and Czech design.
My attendence at Unima 2008 is supported by the ACT Government
