Tag: 11.10.04

Why Digital Humans Look Creepy

There’s something creepy about the digital realism of thre computer enhanced movie “Polar Express.” But why? Perhaps things in the movie look too real? Or are they not real enough? “Stated simply, the idea is that if one were to plot emotional response against similarity to human appearance and movement, the curve is not a sure, steady upward trend. Instead, there is a peak shortly before one reaches a completely human “look” . . . but then a deep chasm plunges below neutrality into a strongly negative response before rebounding to a second peak where resemblance to humanity is complete.”

Looking For Pure Mr. B

“Dance is most clearly preserved in the living bodies of dancers, not in books or on films or videotapes. Even before Balanchine’s death in 1983, there was apprehension about preserving his works. Twenty-one years later, some critics swear that they are still performed as he would have liked; others find fault on a regular basis, saying that the New York City Ballet, the logical caretaker of his legacy, has not lived up to its responsibility, and look to other artistic directors and companies to preserve the work. Pacific Northwest Ballet co-director Francia Russell is one often looked to in this regard.”

Students Oppose Copyright Abuse (From The Other Side)

Students at several American colleges are organizing to oppose expansion of copyright laws. “They are forming Free Culture groups on campuses to explain copyright law to fellow students. Stressing its importance for culture and society, the group says copyright law is being abused. To illustrate their point, the groups hold remixing contests, promote open-source software and rally against legislation like the Induce Act, which would hold technology companies liable for encouraging people to infringe copyrights.”

Famed Fenice To Reopen This weekend

Eight years after fire gutted Venice’s famed La Fenice, the opera house is set to reopen this weekend. “The latest restoration, some critics have carped, has certainly achieved authenticity, but without easing such discomfort. Still, La Fenice’s place in the great opera houses of the world is assured, no matter how cramped some of the seating may be.”

Heilpern To Non-Profits: Why The Sell-out?

John Heilpern wonders what has happened to the spine of non-profit theatre. “I’ve no argument with bottom-line Broadway producers. Apart from the usual British import or star-driven revival, Broadway has more or less abandoned serious drama. But when the producers of nonprofit theater throw in the towel, we’re in real trouble. They represent the last bastion of the true artist, ‘because it’s where the money isn’t.’ Because their stages are the only places left in American theater where the commercial bottom line isn’t intended to rule.”

ABT On The Move

American Ballet Theatre has developed such a strong corps of dancers, writes Robert Gottlieb, that the company is a pleasure to follow. “We’re beginning to be able to watch A.B.T. the way we spent decades watching New York City Ballet—that is, tracking talented young dancers as they make their way through the company. And for serious ballet lovers, there’s no greater satisfaction.”

Yale Student Sues “Freedom Tower” Architect

A Yale architecture student is suing architect David Childs, claiming that Childs stole his design and used it for the Freedom Tower at the site of the World Trade Center. “Thomas Shine says he created his “Olympic Tower” for a Yale architecture class and presented it in December 1999 to a panel of jurists that included Childs. Shine says Childs complimented the design in a Yale architecture magazine: “It is a very beautiful shape. You took the skin and developed it around the form – great.”