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Face - Sculpt

This is a test of sculpting with Mudbox, starting from a head lowpoly. It has about 6 million polygons but it is still quite fluid as framerate.

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Glasses Crystal

Simple testing of lighting & shading of crystal glasses, with different lights



done with 3ds + MW multilight activated

Soreness Of Breasts Post- Period

Carmelo Bene and Maria Luisa Maria Luisa

Invitation Templates 18th Birthday

I'm trying how different controller and I have difficulty tuning them properly (especially those of the mouth, which are complex)

I can not in practice with wire parameters, spostasmento the link in my circle with the controller GUI in the face. That is, if I say the circle of posY influnza Ydel the controller, he does so absolute, that is coordinated in ospazio and not relative to its position iniziale.Ho then tried contraits position, etc ... I still have not found the picture of the problem.

keep the hack ^ _ ^

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Project-Rigging Facial: Facial Rigging orientation differences

is what happens if you omit the orientation of bound (constraits)

Without ....

... and ....

In the first case, the bone is the "vertical" but not its end is oriented for him because that has no value given. In the second, him well to follow his temrinale in terms of length, follows the orientation in space

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Start my diary chart with a project "open" on the facial animation.

morpher The present shape in the 3DS or manger of XSI are excellent and efficient but have the burden of preseed position. This binds the continuation of the animation to always having to use those and do not change them, except through a new "face".

To overcome this, we can face rigged the same way as Rigga a body with the bones (or simple box, it makes no difference. The important thing is the skeleton structure).

This method has the advantage of not having a mid-animation, but simply set a new target with the use of a GUI and have to make your character your poses.

The drawback is the setup, much more complex.

As you can see in the picture, I started rigged the face following the trend muscle (a circle around the outline, eyes, muscular cheeks from top to bottom, the muyscoli idem front) because, in the same way that you model following the rules of edge loops, our bones are to be included in order to give proper expression to the face.

For now I'll use the 3ds, at the end of this adventure, I will take the same concepts on XSI, which is slightly different in terms, but with the same effect.

The basic structure of bone is very basic: a bone and its terminal. The bones are configured (Bones panel tools) with length-frizz. In practice, shifting its terminal, the bones will grow (remember that the muscles are getting longer, not steel). Two other operations

serovno us to complete the basic structure that will allow us to animate our face: connecting our bones to the helper.Nello Specifically, we create two helper, in fact, one top and one in the queue, to which the linkeranno.Ora our bones, to connect the bones need to go into the motion and use the tools found there: position and rotation. We select the bone and the main item in the "position" let's add "contraits position" as the subject and target, go to one of two helpers. As for "Rotation", adding "Look at constrait" and as the target, select the other helper.

Now, for the bone end, we just insert "position Contraits" and target the second helper (the one used in the rotation)

Why this? Contraits the first (pos) of the first bone indicates that its base is bound to quell'helper, then move, will follow him like his shadow. Rotation, however, even if we did not do, he would not turn over to its terminal (which is bound to position the second helper) taking effect that would move correctly, but would not turn.

Examples draft in a few clicks ...

Neutral ...

Surprised ...

Angry ...



For now I got here. Now I have to improve the weighing of the famous face and create the GUI.

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First post

And here I am, finally online, with blogs and site in tow.
This will be a collection of personal projects, tips and tricks, stuff and a mini-tutorial in the world of 3D graphics. In
around the forums (especially Treddi.com , which is also moderator) will find me with the nickname Icer.
nothing else I have to say then .... then. Point.

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and Carmelo Bene

Fotos De Lactobacilus Acidophilus

The fly in the glass

Amalia Cecere

Carmelo Bene: restless genius and polymorph of the Italian scene, witness ACRI player duel between old and new theater in the last four decades of the twentieth century, and yet "author-writer of rare integrity, the high tension apparent in his writings both linguistic and literary theory. Five years after his death, Stefano di Lauro commemoration of the artist proposes a model with Salento The fly in the glass. The Poetics of Carmelo Bene (Icarus, 2007), volume is very valuable for editorial content and invoice.

The theater Well much has been written by distinguished scholars of Italian and French, the same can not be said of his poetry, never explored richly in its entirety (logical-to-analog, diachronic-synchronic), where s' Apart from the plethora of work on the "lump dense theoretical" of phonè . The fly in glass is, precisely, a comprehensive analysis of beniano thought, from the beginning until the Roman actor machine, ending the almost totemic hairdryer, last act of a theoretical development very articulated joints which examines Lauro consequential aporias with a sensitivity and a measure that stem from a deep intellectual honesty, an honesty that never scratched unquestionable admiration for his leaked well studied.

beniana The poetry is well-known redundancy of intertextual references as well as "divertissements irritating and mocking." The risk based, a study sui generis, is to "borrow the forms of linguistic genius," rather than indulge in some deception due to the character and unsystematic naturaliter of histrionic Salentino. The author avoids this risk, and come with winch epigraph in overture (quotes from a couplet in marker on the bench of Verona "), that" words were already all / you had only read them in the right order " ; with what already declaring the basic principle that informs the study, that the quote direct, or a juxtaposition of quotes.

The fly in the glass "seeks, as far as the matter permits, to be enlightening and somewhat 'popular', or [...] seeks to detect the 'sources' of his thought [Carmelo Bene] in order to better understand the evolution and to unravel the twists to make them. "

These days, in truth, the word" popular "can not lend the side a few misunderstandings. But it is immediately clear that the disclosure to which the author alludes which is far dall'intendersi simplification, and contains but a probable allusion to the Vulgate , or the translation "most faithful" of the Scriptures, because most faithful closer to the sources. In this case, "sources" are twofold: the words of the Good and a large portion of contemporary literary and philosophical (romance, decadence, irrationality and structuralism; assume the common thread of negative theology and speculative mysticism), to which the Salentino is closely related.

The analysis, however, remains on a level of mere neutrality; it goes further to consider, with the suffrage of a large collation of quotes, the idea of \u200b\u200bstructuralism as theoretical horizon most likely to 'understand' both the postulates that the paradoxes of his poetry. "The argument, while certainly a novel wide range exegetical beniana flowers around the work, seems happy and persuasive.

The four thematic chapters that make up the work (on Adelchi on renewable sources of philosophical and literary sources teatrica) creates a dense web of intertextual: it can happen to intercept the com -motus, which crosses the secret vibration History of a leap and start a dialogue between synchronic Adelchi and Levi-Strauss, between Manzoni and Lacan, among immodesty beniana shocking and mystical inspirations of Meister Eckhart, to name just a few of the many matches.

without fear Allocation from the pack, as he says, and yet without losing the proper scientific humility (the monster should pay for natural disposition to approve or disagreements resolved, whence, as already said the risk of generating an apologetic commentary left or speculative), the author unfolds his speech with commendable honesty that never shuns the accurate interpretation argument, and that is not short of useful frameworks capable of facilitating their use. Clear idea of \u200b\u200banything but populist, to Lauro, who helps with discretion and resolutely, to pave an alternative route to the statement of the cultural domain, although (or perhaps mercy) he is considered an outsider , a "maverick" as he likes to be called. A visit to the site ( www.stefanodilauro.net ), indeed attractive, provides its readers with interesting information on the poetry of this former theatrical composer, filmmaker, playwright, recently "converted to writing to avoid actions of discontent. " His editorial last year's debut with an unusual work of fiction, Òpera . It is quite possible that The fly in the glass , remains a unique , isolated in a raid essays, and serve as means from the book, a casual ("but the case does not exist," warns the author ) occasion of gratitude for his Masters.

University of Naples "L'Orientale"

Annals XLIX, 2

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the poet, again, boy!

Vito Antonio Conte

living with his madness mine. Bell keeps me company. The Orphic Songs were long ago. Today is I poet of the night. This is a collection of unpublished letters by Dino Campana, published in the series yellow ocher Edizioni Via del Vento. A few years ago, on Musicaos, I wrote of several series (besides the aforementioned, I know two more: aquamarine and iquadernidiviadelvento ) from this publisher Tuscan (based in Florence) and the particularities and preciousness of this little book (of new texts in the 16 x 12), "using" are flowed Fernando Pessoa. Now do the opposite: the pretext is the wave editor to tell you to Campana. As I can. As I want. I will not tell of his biography: Marradi, in the Tuscan-Emilian Apennines, and his mother, Fanny, compulsive woman who neglected Dino (when he was born the second son, Manlio) to the point that the lack of affection and the abrupt maternal reactions marked the beginning of the evil that contributed to the demise of the poet in that Castle of Fleas. I will not tell of his divine rags wandering real and fantastic places, instead of being land as possible, often sharpened his existential malaise (Dino, who was pregnant with the nomadic soul, so as to have an anarchist conception of the existence and adventurous). Neither of these definitions will tell you, from time to time, critics and writers envious jealous, always late, cataloged his record as a result of a visionary poet, hallucinated, mad, Orphic, vagabond, Mediterranean. At best. Indeed, more often, Bell was opposed, marginalized, ridiculed, excluded, ignored. Meanwhile just trying to assert its right to exist. Nor will tell you Boine, Novaro, Cecchi, Serra, Soft and Papini (and others of his time). The last two, as known, lost the manuscript of the Orphic Songs (originally titled The longest day ) that Bell gave them in December 1913. Bell of the loss could never get over it. Soft Ardengo challenged to a duel. Threatened to kill Giovanni Papini (a memorable letter to the poet Papini dated 23/01/1916: " If within a week I will not have received the manuscript and other papers that I gave you three years have come to Florence with a good knife and I will judge wherever you find ). After having laboriously rewritten, published his collection, at his own expense (it is said-that was organized by fellow-Luigi Bandini a collection of eighty people, but in the end only half actually joined) in 1914 at the typographer Bruno Ravagli Marradi and personally sold copies in every way. The manuscript was found among the papers of Soft in 1971 by his daughter Valeria, and later (in 1973), published in two volumes by the publisher Vallecchi (which, ironically, more than half a century earlier, Bell had asked-in vain-to published). We will not say he loved the Authors: Poe, Nietzsche, Whitman, Rimbaud, Verlaine, Aeschylus ... and Sbarbaro. And, again, I will not tell his story with Sibilla (Rina Faccio) or that of Sibilla with Dino Campana (...) and believe me, I: It was the loving and sexual relationship not only the most turbulent of Italian literature, but also dense crossings, detours, derailments, curves and roads that are the envy prohibited the largest metropolis known. When I adjective the relationship between two loving and sexual, the disjunctive was intentional: love dell'Aleramo was told everything and more, but just read the correspondence between the Aleramo and Bell, published in the sixties, to understand what love was overwhelming and devastating. On the sexual services of Bell is said to be tireless and pretended dall'Aleramo more than (and, of course, was much) the same could. And then, on the manhood of the poet, moving several urban legends according to which, during periods of internment in a mental hospital, Bell masturbating up to fifteen times a day!?! But this does not tell you. Instead, in addition to being weak and neurotic, as well as the illusions of twilight and the future, over any vain hope of new literature, marked by the blood of Campana, tell of his aversion to the study and use of the metric, its feel the depositary of the secrets of the world, his way of revelation with the verses and his grief for nearsightedness around, the blindness of his anger that artificially forcing him to beg his life. And, after the rediscovery in 1968 by the Falqui (known in his Essay on Twentieth Century Literature Campanian), raises the sense to hear it again define the melodic and visual poet, music and color. Or, in the highest of the labels, the dean of modern poetry. There is the poetry of Dino Campana is not limited nell'alveo of a movement rather than another, it is not classifiable according to ordinary canons, escapes any kind of definition: it is unique, as only Dino Campana! And so emerges from the letters collected in I Poeta Notturno : I like to mention a few passages: " I am a poor man who writes like this: You probably will want to hear. I'm that guy that was presented by Mr Fluffy as a Futurist exhibition moved, someone who writes good things at times. I write poetry and poetic novels, no one wants to print and I need to be printed: to prove that there is, to write again I need to be printed. I would add that I deserve to be printed because I feel that what little I can do poetry has a purity of accent that is now uncommon to us. I'm not ambitious but I think that after being beaten for the world, after I did tear from life, my word that although salt has the right to be heard . "(From a letter dated 01/06/1914 Prezzolini). From these lines shows the fragility of man and despair Bell and, at the same time, all the awareness of the power of his being a poet and I like to highlight the use of the verb in place of the print publication Concept ... returning in a letter to Emilio Cecchi, dated 05/02 .1916, in which Bell slams "disgusting imagine with what I have to resort to these miserable suckers of the best blood of Italy who are called publishers. I have known for quite Maramaldo not abhor some new relationships. And in the hope of a few hundred pounds here I come to beg you to give me the address of one of these dogs whose murderous cowardice of the public by the authorities of stealing without dishonor the sweat of our tumblers. (...) I'm not a coward and I fear that my subject is out of heroism. Cardarelli wrote to me: he believes in a gay science: he blessed. (...) I am confident that he and others will know more than I love the phantom sunny glimpse of happiness that I thought there long ago on the Mediterranean. I do not think it really works. What should I do. The people are missing, lost consciousness and to become a mystic are not vile enough . (...) ". Bell is very disappointed and pissed off about the fate of his, of his poetry and poetry of his time, but continues to say, with violence, its condition and the negatives that come across for their right to live (Albeit, too) that condition. Until exhausted. So go ahead. Until the statement to be crazy in the spring of 1918, and that sort of calm resignation which is found in one of his last letters, written on 11 .4.1930 at Binazzi Bino, which, inter alia, said: " Everything goes well in the worst of all possible worlds ... .

And again I call your name Chimera!

Who does not know it yet read it. He is immortal. E Via del Vento is meritorious because circulate it in that format (also) easy accessibility.

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The show? Not! The theater of truth

Consideration on the sidelines of the vision of
"The sign of the sacred monsters" of Danio Manfredini

The word of the theater, the word is firm, clear-cut. One: what is said is said!
In the 'stuck' is written sense, the sentence after sentence is clarified. It unfolds the need.
If everything comes from a question, when you get on the "tables", it constructs the answer, the truth. That the actors with their actions and the "ideological" in the text.
One question, one doubt, is intended to result in "the sacred sign of the monsters," the demand that great weight is placed at the end: "what do I need to do the shows?". The answer, immediately after, the scene is: "to anything." A query from
outcome! Epitaph for a world that seems to live only for this. Seduced, compromise, symbiotic, itself only show.
represent is dictated.
resounds that question mark, t'insegue, back the curtain closed. A slight velatino, coming down like an eyelid, you re-close on a heavily autobiographical story populated by the madness with all its psychiatric climates. From the "pax" a foul-mouthed hilarity sumptuously, the delusions of all the dogs, the screams, the crying of "I am exhausted."
But what is the meaning of that question? Coming from where it is said, launched from a stage? And 'the theater asking, alone, lost in his "nakedness". What is the show where there is sharing, love and understanding? The scene
Danio Manfredini constructs is clear: many openings with an internal light. The next day, with its temperature through the dining hall of a community mental health. Each door opening into a soul. A "tragic soul" that is in front to give her evil, unheard.
"I need protection," said one.
We all need protection. Madness is common condition. Everything is in its limit. Only there, where the madness is manifest, named, tamed: "It 's a pump and then get out of the rind." Alone, I find the sublime, tragic truth imbued the purity of the pain.
The 'operator' is the oject of love, the mediator, the neutral servant who attends, prepares, receives. There is between him inside and out. Present, impossible, no power except that of the creative gift. At the outset of medicalization.
There is a saying, calling on the phone: "Hello Vatican? I have a certain urgency to talk with the Pope. " But the Pope is not there, not responding. Do not talk about power, not match! Talk to him alone, he dictated the rules, or you can and can not be. The rest is "the human family."
"sprouts," says someone in the scene but "we are like the flowers off."
"I love and hope" is that "not even charity, is a crying, sobbing. " Here, we lack of charity, compassion.
That is all. That's it! The show is not needed.

Mauro Marino

e.

Welcome Address For Recognition

We have seen "This dark, ferocious' last work of Pippo Delbono

The name is a dance that welcomes the essential sound, translates it. Act of breathing. The name is what we are, in the dance of life!
There is a theater of truth, where the actors carry the grace of themselves. Only oneself, the extreme care and finish the scene. This showed the 'exceptional regional exclusive "of" This dark vicious "recent work by Pippo Delbono, brought to the stage on Tuesday at 8 Politeama Greek Theatre. Everything is white. Also the floor. A voice from outside the scene said the pretext of a small book and found it by chance, the journey begins. Death is the goal. Understand it, accept it. Store it too! What is light. Pure light! All white, antiseptic. All white, like a hold. Two 'servants' too white welcome, cared for, protected by masks, gloves, rubber shoes: they are other, other, distant, non-human. We in one pass. After all, the curtain opens and smashes swallowing black. 'S where the end? I do not know, there is a coming and going. There is no end, then, is the multiplicity of numbers. The many of us who repeat history. That little writing that great. Levity and tragedy together, sumptuousness and losing together. A Butterfly in red has the legs cut off sitting in a wheelchair. A man shows his skinny body, it moves up, everything and everyone is extremely careful. She shows off her breathing, only that he, with surprising grace and provides voice and sings "My Way". There is no nudity, no show is shame everything that moves. With the silence that greets the coming of the "figures" are where the corporarietà of Caravaggio, Frida Kahlo, Francis Bacon, George Grosz. The stage machinery is the rest of the small objects are the costumes. Do not breathe but disguises of men and women and their ages, behavior, abyss. Everything is attentive, caring and attentive. Calibrated in a disarming naturalness. Are just that, not pretend. Simply they are there. And a breath, we are, in the agony of "not" in white rooms of the mind, where dreams are waiting for the "room resonance." The theater makes us look where we do not want to watch. The name! What is the name of each us?! The name is a dance that welcomes the essential sound, translates it. Act of breathing. The name is what we are, in the dance of life! Our land is a kind of horror. " "Pity for the weak", "for those who expertly ridiculed, abandoned." Everything you look at disappears. Look! Look at him! Look at me! Everything disappears. Still not tired of the "pleasing entertainment? Still not tired of yourself, word, poetry, prayer? It 's all dark, "a dark stranger, where you can not get as yourself" is our world. "Identity" is "a game ". A game every day and look in death, and death we see. Two harlequins, bring peace and curiosity, looks. Peace there never was! The following is the peace of death! "I feel invaded, and peace is all around me! Delbono dance, dance, dance, his breath.

Mauro Marino

Brzer Open Denise Milani.com

A Carmelo Bene Carmelo

A Carmelo Bene, the point of death,

21.09 hours of March 16 2002

fed me with tears nitrite after dusk

Immortality when he stopped at the station of Nothing

in a form that night and the glory went out of his mind

gasp turned into meat as the Word, your look.

was the ABC's of a disease Moorish

to translate the firefly in the night libertine heretical

blackish the songs of your eyes in horror of wax,

the cry of a horse child in its crypt.

snuffed the sky, bones!

Have you harnessed the Grace of the mistletoe,

as skin Magenta and your voice.

The ruff time crumbles ...

your fury in the halls overflow ash

as if death was elsewhere ...

where devils have lost the soul!

where the gods have given the body!

Antonio Sagredo

Vermicino, March 19, 2002

with an ice cream in hand crows

Vittorio Bodini

regression Salento

With an ice cream of crows in hand

press with your fingers sweet lump of a must,

a crown on my head was buzzing with geraniums plucked.

Tears falling down from the balconies of papier-onions,

down, sticky as incense.

Baroque and sealed like a suffocating coffin was spreading

for the city, false and polite, as a hearse.

In the heat language flowed icy pitch black!

pop a purple ribbons of bright grecoro: HEY! HEY!

English as a round of applause!

But the halls overflowed your liver pus, slobbering ...

rang a reddish green creeping lizard,

bandages, as vanes shook the foehn, including those infected beds

and shining, the heat!

flared at the bedside of my Legions

that verb villain, and in exile, in vain,

sinking in the Song!

But we toasted - I, you and the actor - with a black primitive

as the glasses emptied after each resurezione,

because morete was honored by his delirium!

Antonio Sagredo

Vermicino, 11 March to 4 April 2008

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Adelchi

Adelchi
or the vulgarity of the structure

Common sense was,
but was hidden for fear of common sense.

Alessandro Manzoni

The Adelchi of CB is an occasion for a concert for voice, orchestra and chorus, on the occasion of the bicentenary of the birth of Alessandro Manzoni (Milan, Teatro Lirico, 1984), ed'una publication written by Giuseppe di Leva, also co-author of the stage adaptation.
With this "pamphlet, essay, story, delirium, the authors provide an original interpretation of Manzoni's text, is not without its pleasant digressions and forcing. Exegesis, as the subtitle, tends to make show the "vulgarity of politics:" political "as an adjective, but also as a noun. The political practice, not least of those who exercise it, would therefore vulgar. Vulgarity is going to cretinism, idealism, and so on to prevent political act sensibly. Vulgar is the inability to make politics what it should be: the art of the possible. Vulgaris is the ineptitude that prevents predict a disaster, or to recognize an already in progress, is known as "the ability of light 'politics' to press the accelerator in view of the danger"
(pg.25)

"

All history is the history of fonè.
It gives representation only to the written page, the story follows, that is no longer the story.
Each story is written imaginary. You can revisit only through language. (Ri ) live 'original' which questioned due to the language. Reliability of facts (in your produce you) is your style. But the mortification of your style. Therefore, 'trust' is the only historical novel. Or the 'speech' on some history . Alessandro Manzoni is a teacher of History.

Adelchi's departure is not peaceful, it's just peaceful. In the face of death, he sets aside any resentment to rely completely on the Christian hope. And on the brink of peace, can afford to be summarized in the "no choice but to do wrong or patirlo" the meaning of human life, satisfied to let his father won and dispossessed, "in between the oppressed."

In "to hurt or patirlo," the author - it is clear - is an eye bandage, as if to return a door to the dramatic Adelchi of "reliability" of reading. About how he watched the "Catholic Morality" has an inborn concept of action-passion in the "to do wrong is patirlo. And the benevolent condescension to us the alternative is simply the "ignorance" of which the author takes care to meet us, the sky lowered his clairvoyance in exchange for our attention. It is the tragedy of a good compromise. The abandonment which is nell'Adelchi This excess in the deep breath of Promise is assente.23

To underline the paradigmatic value of the "impracticability of the possible," the authors call into question another victim of the excellent ' political misunderstanding, another man of compromise with a capital C: Aldo Moro.

ripiove eyes And here the sequence of state funeral of Aldo Moro, in San Giovanni in Rome. [...] Paul VI, visibly moved, bargain with God: "You did not want to answer our prayers ..." That pontiff cried his friend gagged by the eternal silence at his feet, and bitterly, too human, benevolent, yes , that his humble and strange "reprimand" the intransigence "unfairly" severe who "lands and raises" the tone, say, changing color in the ill-concealed disappointment and outrage and terrible at his side for so many innocent Realpolitik: ugly (secular) , deaf and dumb, and unacknowledged rea.24

Again, the compromise as "excessive centralization" appears as the only sensible solution, but suffers from a lack of understanding of the "illusion of extreme ideologies," and the intransigence of cliques tolemaiche.25

Thou hast seen, O Lord: State of the massacres (of state), we have always closed all eyes on the changes of the reformists and feverish proffered forgiveness to the vulgarity of the pragmatic "revolutionaries" who continue to hold "extreme" delirious mania for all its attempt to reaffirm state to state, "another "only in the game of mocking (RIS) volti.26

And even if revolution (every revolution, as is evident from the generality of the proposition, first among equals that of the poet Mayakovsky Well known for segno27) is a false choice, nothing more than a change of nomen domain registry, or, to put it with Klossowski's Sade mon prochain, is a process whose only result is the assumption by the prerogatives of the Masters of Slaves: well: the responsibility of History dell'invivibilità fatally bleed from the "political" to the office, as we have seen, and finally overflows in structural impossibility, since the rest has already been announced in the overture of the book: all history is the history of fonè.

(pg. 35/34)

quote from C. Well, G. Di Leva, The Adelchi or the vulgarity of politics, Longanesi, Milan 1984

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mirror

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Caramel!

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front of a mirror is a hapax



Photo by Piero De Marchis

Torino 1979
Caramel Well, during a press conference at the Hotel Sitea,
front of a mirror with the inevitable cigarette.

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