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[From this article at The Artery] “Onoda Power’s play is about the magic of creation, says Young, and Tezuka’s message was one of peace, especially coming in the years after the atomic bomb was dropped on Japan.
“You know he wanted to create something that children could love that also was a friendly reminder that violence doesn’t necessarily have to be the answer,” Young says.
That’s one of the play’s many messages too, delivered by a bright-eyed little boy robot obsessed with saving the world.
“Astro Boy and the God of Comics” runs through August 16 at the Boston Center for the Arts.”
#PRISOM, A Synthetic Reality Surveillance Game
So we (meaning Mez Breeze Design) can finally let the (Schrödinger’s?) cat out of the very tightly zipped bag: we’re *extremely* excited to officially announce our latest co-production with Dreaming Methods: “#PRISOM“. #PRISOM is a Synthetic Reality Game where a player is set loose in a Glass City under infinite surveillance. Will you be brave enough to enter?
The project is making its début at (and is funded by) the “MARart4 Transreal Topologies Exhibition” as part of #ISMAR2013, the International Symposium on Mixed and Augmented Reality in conjunction with SA Uni’s Wearable Computer Lab. So if you’re keen to don a HMD (Head-Mounted Display) and throw yourself into #PRISOM, head to the Adelaide City East Campus of the University of South Australia on October 1-4th.
Hakanaï – 1mn excerpt from Adrien M / Claire B on Vimeo.
“Hakanaï is a haiku dance performance taking place in a cube of moving images projected live by a digital performer.
In Japanese, this word Hakanaï is the union of two elements, one alluding to man and one alluding to the dream. It is used to define the ephemeral, the fragile, the transitory, the intangible nature of matter.
This words together with the tulle covered cube, create the starting point for this piece.
The four projectors reveal on the tulle a graphic universe in constant evolution. Performed by an artist as a “digital score”, it is generated and interpreted live. The dancer’s body enters into a dialogue with the moving images in motion. These simple and abstract black and white shapes behave according to physical rules that the senses recognise and to mathematic models created from the observation of nature.
The audience experiences the performance in several stages. They first discover the exterior of the installation. As the dancer arrives, they gather around to watch the performance. When the choreography has ended, the audience can then take some time to wander amongst the moving images.”
