My work also has allowed me to collaborate with women cartoonists from across the world -- countries such as Saudi Arabia, Iran, Turkey, Argentina, France -- and we have sat together and laughed and talked and shared our difficulties.
And 20 years later, miraculously, we collaborated with a company from Mali, the Sogolon Marionette Troupe of Bamako, where we made a piece about a tall giraffe.
For the last 8 years, I have dedicated my life to documenting the work of Israelis and Palestinians who are trying to end the conflict using peaceful means.
The threat, in fact, is this inversion of the burden of proof, where we suddenly are all treated like thieves at every moment we're given the freedom to create, to produce or to share.
約4年前のことです 米ケーブルテレビ放送局HBOが 僕と家族について 『Life According to Sam』という ドキュメンタリー番組の制作を始めました
About four years ago, HBO began to film a documentary about my family and me called “Life According to Sam”.
In the footnote panel that accompanies this work I photographed an official Adolph Hitler postage stamp and an imitation of that stamp produced by British Intelligence with Hans Frank's image on it.
They required scores of highly skilled weavers working over extended periods of time with very expensive materials -- the wools, the silks, even gold and silver thread.
Tragically, Babbage's engines never were built in his day because most people thought that non-human computers would have no usefulness for the public.
Since then, we've been building drones for our collaborators from around the world, and these include fellow biologists and partners from major conservation organizations.
Because we are always working from a very personal space, we like how this consumer aesthetic sort of depersonalizes the object and gives us a bit of distance in its appearance, at least.
私は 文字のサイズと 制作過程から生じる — 影響も考慮して この奇妙な書体を デザインしたのです
These strange artifacts are designed to compensate for the undesirable effects of scale and production process.
So I was persuaded, I was convinced, and we went to work on what became Verdana and Georgia, for the first time working not on paper but directly onto the screen from the pixel up.
I am both a magician and a New York Times crossword puzzle constructor, which basically means I've taken the world's two nerdiest hobbies and combined them into one career.
In the creation of "Lost, " Damon Lindelof and I, who created the show with me, we were basically tasked with creating this series that we had very little time to do.
Boniface Mwangi: So we have this community of filmmakers, graffiti artists, musicians, and when there's an issue in the country, we come together, we brainstorm, and take up on that issue.
タイトルは『Clouds Over Sidra』 私たちの仮想現実 制作会社VRSEと 国連 そして ガボ・オローラと共同で制作しました
So this film is called "Clouds Over Sidra, " and it was made in conjunction with our virtual reality company called VRSE and the United Nations, and a co-collaborator named Gabo Arora.
They gave him a car bomb, they gave him an AK-47, they helped him make a so-called martyrdom video, and they even gave him money for a taxi cab so that he could get to where they wanted him to go.
My process is to essentially become the people I document by spending years with them as an observer-occupant, to create a safe space, to then become hidden in plain sight.
And as you start to dissect this organism, you can identify a series of primary technical clusters -- program production, broadcasting center and news.
And this was the time of the Balkan Wars, and I wanted to create some very strong, charismatic image, something that could serve for any war at any time, because the Balkan Wars are now finished, but there's always some war, somewhere.
Carlos Alomar, great rock guitarist, working with Eno on David Bowie's "Lodger" album, and at one point he turns to Brian and says, "Brian, this experiment is stupid."
And sure enough, so they collect all the data, they do all the data crunching, and an answer emerges, and the answer is, "Amazon should do a sitcom about four Republican US Senators."
All of this brings us to the yawning archway of the altar wall, where we see Michelangelo's Last Judgment, painted in 1534 after the world had changed again.
I then took the fragments of these and created molds, and cast them first in wax, and finally in bronze like the image you see here, which bears the marks of its violent creation like battle wounds or scars.
But not just simple simulations -- we would also create advanced simulations with top universities like MIT, to bring out cutting-edge cancer research to these students.
And in that way, we want to offer the right tools to sound designers, filmmakers, and video game and app designers, to keep telling even better stories and creating even more beautiful lies.
Ironically, that object was made by the Killarney process, which is a brand-new process here for the 21st century, and I can hear Greg Lynn laughing his socks off as I say that.
(Laughter) I started producing this series in early 2015 after going through kind of a dark period in my life where I just didn't want to create films anymore.
It feels a little bit like analyzing interactive poetry because every game mechanic is a metaphor, and so the more the player asks themselves what we as designers were trying to express and why, the richer the experience becomes.
I never planned to write video games, but these moments that really change our lives, they often come as the result of our hardship -- and not our glory.
See, I think it's not really about impression, making people fall for a really perfect illusion, as much as it is to make -- I usually work at the lowest threshold of visual illusion.
I want to live in a society where artists are more valued and have more cultural and financial support so they can focus on creating arts instead of being forced to drive Ubers or take corporate jobs they'd rather not have.
I am emailing to let you know that I am doing great and so are hundreds of thousands of artists who are being valued more culturally and financially and getting enough funding to focus on their crafts and create more art.
What if my roommate knew about Nollywood, full of innovative people making films despite great technical odds, films so popular that they really are the best example of Nigerians consuming what they produce?
And I keep it around for a couple of weeks, and I'm contemplating it, and I'll do another session with it and bring it up to another level, where all of this becomes the background, the depth of it.
Like this green one, this is a painting I did about 10 years ago, but it has some -- see, in the upper third -- there are these moires and interference patterns that are radio kind of imagery.
So, drawing a line through those two dots of experience came to, "This is going to be a whole new world, " this was a whole new world of creativity for film artists.
If you're a wildlife filmmaker and you're going out into the field to film animals, especially behavior, it helps to have a fundamental background on who these animals are, how they work and, you know, a bit about their behaviors.
But where I really learned about octopus was in the field, as a filmmaker making films with them, where you're allowed to spend large periods of time with the animals, seeing octopus being octopus in their ocean homes.
Now, when we first started talking to OK Go -- the name of the song is "This Too Shall Pass" -- we were really excited because they expressed interest in building a machine that they could dance with.
(Laughter) And we lost one high-heeled shoe when one of our engineers, Heather Knight, left her high-heeled shoe -- after a nice dinner, and returned back to the build -- and left it in a pile of stuff.
今日は皆さんに Digital Universeをご紹介できることを 大変光栄に思います これは私たち人類が宇宙において どこに存在しているのかを 知る為に制作しました
It's a great honor today to share with you The Digital Universe, which was created for humanity to really see where we are in the universe.
My work also has allowed me to collaborate with women cartoonists from across the world -- countries such as Saudi Arabia, Iran, Turkey, Argentina, France -- and we have sat together and laughed and talked and shared our difficulties. 