“Glitches are the uncanny, brutal structures that come to the surface during a break of the flow within a technology; they are the primal data-screams of the machine. In the digital these utterances often take form following the “vernacular of file formats” (the encoded organizations of data). A file format signifies what protocols (formal descriptions and semantic rules) are used to structure or encode the information. Many different file formats exist, for different forms of information and every one of these formats possesses its own encoding structures, which can be understood as a grammar or idiom. When this idiom is broken, for instance by a glitch or a wrong encoding, the data in its basic/primal structures of encoding comes to the surface. Visually glitches show themselves through organizational structures like rasters, grids, blocks, points, interlacing vectors and frames and therefore often look complex, repetitive, discolored, fragmented and flickering”.
Evolution is an advertising campaign launched by Unilever in 2006 as part of its Dove Campaign for Real Beauty, to promote the newly created Dove Self-Esteem Fund. The centre of the Unilever campaign is a 75-second spot produced by Ogilvy & Mather in Toronto, Canada. The piece was first displayed online on 6 October 2006, and was later broadcast as a television and cinema spot in the Netherlands and the Middle East. The ad was created from the budget left over from the earlier Daughters campaign, and was intended to be the first in a series of such online-focused spots by the company. Later pieces include Onslaught and Amy.Evolution was directed by Canadian director Yael Staav and Tim Piper, with sound design handled by the Vapor Music Group, and post-production by SoHo.
Contessa Rosafosca is a laboratory where there are projects and strictly handmade items made with the belief that “beauty is not perfection: the imperfections, unique details, the mistakes make beautiful and personal collections of accessories, clothing and above all make it interesting and unique people. ” Contessa Rosafosca wants to shape an ancient tradition with new … joining present with future. Design and craft, a winning combination to propose new stimuli, creating shapes from harmonic lines capable of transferring the glass jewel a charming and elegant timeless style. Contessa Rosafosca is a trademark of OZ SIGN Cesaretto Silvia, a young graphic designer of Venetian origin. After working for seven years in the advertising agencies of Padua, Rovigo, Ferrara and Milan, in 2004 she moved to Switzerland, where she still lives and works as a graphic designer.
The photographer Giordano Morganti shows the beauty from a different perspective. He gives the opportunity to observe the individual through the lens of a photographic lens that takes us away from the frantic search of perfection, beauty, eternal youth and happiness and require the acceptance of the limits.
Instagram is a free application that allows users to take photos, apply filters, and share many of the social networking features. Despite the few effects and the standardization of the product it is funny. Particularly interesting is the square format, even if much more difficult to manage than the classic 2/3.
The photos are imperfect but they ‘taste good’.
Gabi Trinkaus is an Austrian photographer who uses clippings of female magazines to compose new faces and new people. Notwithstanding the use of a lot of not homogeneous paper’s pieces, every work of Trinkaus is ‘perfect and harmonious’.
It’s a long time that the cinematography proposes loves not stereotyped, imperfect. Not only love between princes and princesses, performing men and sweet girls, but love between animals and commoners, ogres and princesses, retro robots and super technology.
The Renaissance man puts himself at the center of the world and loves to be represented in all his fair power, not separated by a certain hardness.Piero della Francesca painted in the face of Federico da Montefeltro the expression of a man who knows exactly what he wants. The shapes of body do not hide the strength, nor the effects of pleasure: the man of power, fat and dumpy when is not muscular, flaunts the signs of the power he exercises. While the aesthetic theory engages with the rules of proportion and symmetry of the body, the powerful men of the time are living a violation of these laws: the male figure also lends itself to enhance the freedom of the artist of the classical canons.
”Donna Moderna”,an italian magazine published an article about the imperfection. In this article imperfection is defined as the beauty nonsense. In this article the theme of imperfection is close to fashion trends. As far as hair,if in one hand there is the trend to be precise,on the other hand,there is the trend to be uncombed. As far as make-up trends, on one hand there is the trends to be very pefect and precise,on the other hand,lof of women prefer to be shade.
So in this article there is a question:Where is imperfection? What is imperfection?.
In this article the fashion model Daphne Groeneveld is considered the imperfection’s example.
Technological convergence is the tendency for different technological systems to evolve toward performing similar tasks. Convergence can refer to previously separate technologies such as voice (and telephony features), data (and productivity applications), and video that now share resources and interact with each other synergistically.The rise of digital communication in the late 20th century has made it possible for media organizations (or individuals) to deliver text, audio, and video material over the same wired, wireless, or fiber-optic connections. At the same time, it inspired some media organizations to explore multimedia delivery of information. This digital convergence of news media, in particular, was called “Mediamorphosis” by researcher Roger Fidler ,in his 1997 book by that name. Today, we are surrounded by a multi-level convergent media world where all modes of communication and information are continually reforming to adapt to the enduring demands of technologies, “changing the way we create, consume, learn and interact with each other”. Convergence in this instance is defined as the interlinking of computing and other information technologies, media content, and communication networks that has arisen as the result of the evolution and popularization of the Internet as well as the activities, products and services that have emerged in the digital media space. The Italian artist Piera Gemelli uses the concept of Mediamorphosis to speak about the complexity of the human body.“In this hybrid space the body for its ambivalence and its formation as opening sense, is the protagonist. It is a body media. Land exchange, porous material that absorbs and filters the voltage of the codes that are written in it, opening the continuous transformation and hybridization of languages. It is the body described by Betty Marenko in Hybridizations, or “polymorphic expression and mutation of a multi-faceted, […] which arises from the contamination of meat and technologies, archaisms and metal, leather and ink, […] universal transmitter that makes it possible to ‘data processing experience, thus reducing the complexity and uncertainty of the world around them. In particular, the object of my research is the Feminine, uterine enveloping space but also devouring it therefore becomes a metaphor of liquidity and voracious media. Women Arachnida and Medusee, bodies in transit, that they carry the traces, the bodies of the monstrosity of desire, sirens assembled and fragmented that lead us in paths of desire wandering zapping media. Hybrid creatures of chaos after attending the banquet of the body fragmented, reassembled in the new unit of Mediamorphosis the Visible.”
Fernando Botero is a Colombian figurative artist.His works feature a figurative style, called by some “Boterismo”, which gives them an unmistakable identity.Botero depicts women, men, daily life, historical events and characters, milestones of art, still-life, animals and the natural world in general, with exaggerated and disproportionate volumetry, accompanied by fine details of scathing criticism, irony, humor, and ingenuity.
Guernica is a painting by Pablo Picasso. It was created in response to the bombing of Guernica, a Basque Country village in northern Spain by German and Italian warplanes at the behest of the Spanish Nationalist forces, on 26 April 1937, during the Spanish Civil War. The Spanish Republican government commissioned Picasso to create a large mural for the Spanish display at the Paris International Exposition at the 1937 World’s Fair in Paris.
Guernica shows the tragedies of war and the suffering it inflicts upon individuals, particularly innocent civilians. This work has gained a monumental status, becoming a perpetual reminder of the tragedies of war, an anti-war symbol, and an embodiment of peace. On completion Guernica was displayed around the world in a brief tour, becoming famous and widely acclaimed. This tour helped bring the Spanish Civil War to the world’s attention.
“If a picture doesn’t tell a story is not a photograph. Maybe it’s the story of all our thoughts, which ones become public and challenge stereotypes and those ones that remain confined for shame.”
Jan Saudek’s photographs leave no one indifferent. They cause in the viewer a visceral rejection or an unconditional appreciation. Underlining the texture and the atmosphere of the landscape that surrounds the characters of the photos, Saudek has recreated a disturbing effect of violence and a unique expression. His themes are repeated obsessively. Through a cheeky use of sexuality (at the limit of pornography), he gives a grotesque and symbolic vision of the relationship and sexual play managing to keep a poem, in the tragedy of contrasts and symbolic messages. The human figure in its raw beauty or obscene truths,with her age, her cares of life and death through dreamscapes dream or nightmare. Saudek ,with straightforward language and full of sensual charge, tells about the beauty of imperfection: very fat or very thin women, with stretch marks, cellulitis and sagging breasts. Thanks to his style, he became one of the first Czech photographers to be known in the West, even if it was the source of several problems with the communist authorities in his country. But the originality of his photographic proposal is indisputable. It’s a desire to portray a different world, the extreme radicalism of his ideas.
Helping a White Man Relearn Joie de Vivre
“Les Intouchables,” having broken box office records in France, arrives in the United States with a faithfully translated title — “The Intouchables” — that is not quite English. American audiences looking for a suitable French name for this ingratiating comedy of cross-racial friendship might settle on “Déjà Vu,” since it is a story we have seen many times before.
Though maybe not quite like this, or at least not in a while. “The Intouchables,” directed by Olivier Nakache and Eric Toledano and based on a true story, is about two men — one rich, uptight and white; the other poor, exuberant and black — who become best pals in spite of their differences.The pallid aristocrat, Philippe (François Cluzet), is paralyzed from the neck down as the result of a hang-gliding accident and lives in a state of opulent ennui attended by a nervous staff and is ignored by his petulant adolescent daughter. He is a difficult boss, and his newest employee, a streetwise hoodlum named Driss (Omar Sy) does not look as though he will last long in the job. Not that Driss has much ambition to play nurse for some grouchy old invalid; he applies for the position only so he can continue to collect government benefits. Moving into Philippe’s mansion, Driss steps away from a background of poverty, family dysfunction and trouble with the police. Under his boss’s stern gaze and imperious tutelage he starts to acquire a work ethic and a sense of discipline. In exchange, he helps Philippe discover his appetite for life and his capacity for joy.
How does Driss do this? In the usual ways. He flirts shamelessly with the boss’s secretary and gives Philippe’s daughter the stern talking-to she needs. He introduces Philippe to the pleasures of marijuana, encourages him to start dating and loosens up a stuffy chamber-music soiree with some funky music.
It is possible to summarize the experience of watching “The Intouchables” in nine words: You will laugh; you will cry; you will cringe. The Intouchables is much more than a buddy movie and American sensitivities to race and culture are just that, American, and don’t necessarily apply to the rest of the world.
The film is also very much about the fact that people deserve to be loved, yes those who are disabled, old, lesbian, gay and so on. In America the only people who deserve to be loved are the surgically enhanced, pouty lipped, botoxed, plastic fantastic monsters to populate our screens. This film is warm, funny and accepting of humanity in all its forms and in all its imperfect beauty.
Quintin Mills is a South African based photographer who in addition to his innovative lighting, uses excellent people skills to know just how to get the best from you to produce his amazing photography for weddings, events, corporate portraits, and everything else he shoots. He started ‘The Imperfect Project’ to produce beautiful photographs of women of all shapes and sizes, young or old, big or small, with tattoos and scars, those who love their body and those who really don’t. He said ‘The idea was to provided these women with an opportunity to challenge themselves, end a period of self doubt or recrimination and to experience something that would make them feel empowered and ready to take on the world. A new beginning.The project is about everyday women confronting the issues they have with their body and instead of holding on to their perceptions, to look at their body objectively and to see it’s beauty. When we realise we are all beautiful in our own way, we can move from feeling “imperfect” to “I’m perfect” and I can do anything!’.
Her face is asymmetrical, her teeth are a little ‘crooked, but they make her look younger (although a little vampire) and, at the age of 29, she already has some expression wrinkle. Kirsten Dunst, who won as best Actress at the last film festival of Cannes for her performance in Melancholia of Divon Trier, declares that it is the perfection to scare her and that it’s not fair to correct wrinkles andpimples with digital techniques to role in a film towards the audience. Sometimes it is better to accept ourselves as we are.
She remembers that when she was a young girl, her mother always scolded her because she never valued her lips enough, which were too pale and thin. For this reason Dunst, does not go out without putting a beautiful lipstick. About the teeth, they have become a way to find out who is the real friend.
She said: “When people ask me why I didn’t repair my teeth, I get angry a lot. If I wanted to do it, I would have done, so why get bored if the other note my imperfection? Hollywood is already full of plastic and identical people,I don’t want to be one of them. ”