OKAY THERE SEEMS TO BE A RATHER UNIVERSAL DISTASTE AND DISBELIEF DIRECTED TO LONG HAIRED SPACED OUT HIPPIES SO I TOOK THE VIDEO DOWN. NOW YOU WILL HAVE TO USE YOUR IMAGINATION. THOSE WHO WERE NOT THERE WILL BE HANDICAPED AND THOSE WHO WERE WILL NOT REMEMBER…
Any one else remember 8 tracks?
turn it up at 4 minutes
The Third and the Seventh is one of the most incredible films I have ever seen.
Here is a direct link to Roman’s site
That’s a profound statement, so let me back up a bit and give you some background. The Third and the Seventh is a 12 minute movie by Alex Roman, a Spanish artist who began doing computer graphics work for a visual effects company in Madrid before getting into the architectural visualization business. Roman became frustrated with the way that client preferences and demands colored images of completed buildings. He took a year-long sabbatical to create a more “pure commercial illustration” of his favorite architectural creations from around the world. The Third and the Seventh is the culmination of this work.
Full screen please!
The Third & The Seventh from Alex Roman on Vimeo.
One for all you in Elisabeth’s Multimedia class
Felice Varini was born in 1952 in Locarno, Switzerland. and currently lives in Paris.[…] The paintings are characterized by a single vantage point from which the viewer can see the complete painting usually a simple geometric shape such as circle, square, line, while various ‘broken’ fragmented shapes are seen from various other view points. Varini contends that the work exists as a whole — the complete shape as well as the fragments. “My concern,” he says “is what happens outside the vantage point of view.”
Many years ago Meyer Schapiro argued that there was a radical difference between arts spiritual value and its commercial value. He warned against the nihilistic effect of collapsing their difference. I will argue that today, in the public mind, and perhaps in the unconscious of many artists, there is no difference. The commercial value of art has usurped its spiritual value, indeed, seems to determine it. Arts esthetic, cognitive, emotional and moral value — its value for the dialectical varieties of critical consciousness — has been subsumed by the value of money.