rework of my first OBJKT #7291 for #100HEN :: {2018/21} :: @annaxmalina :: annamalina.com

◌◌

Ariel Institute development protocol
Avatar Icons: @annaxmalina//: ⌇.gif

@annaxmalina

T◻chMyErr◻rs .x. Str◻keMyKeys

but they forgot :: {2019} :: @annaxmalina :: annamalina.com

it was the end of their world as they knew it

{annaXmachina} series ~ {a X dall·e 2} :: {2022} :: charcoal drawing, paper collage animation :: @annaxmalina :: annamalina.com

{a rose} and {a rose and a rose and a rose}

through a vague shape, with a somnambulant sigh :: part of [Circling Fragmentations] for alterHEN :: {2017;2021} :: paper collage, GIMP selection tool :: @annaxmalina :: annamalina.com

-------------
CIRCLING FRAGMENTATIONS

Tracing the soft edges of paper tears with fingertips. Drawing up the shapes, the lines, the details of a material, a memory, in the dark room of inner vision. Trying to hold together the fragments of a being, of a body, of a self through a vague shape, with a somnambulant sigh; the eye hovering on images like a hand lingering just above the skin of an other.

Through varying approaches – found footage (the memories of others) and self-portraiture (the dissection of a person) – I try to sculpt layers of time, space & material into moments, trapping them into the relentless repetition of a gif, ad nauseam, weighing heavy on the eye. 

Moments made up from shards of experiences and manipulated paper scraps are glued together, frame by frame, in an improbable media format. Unlike a fixed slice of time, a still image, gifs fill up an interval of time. These tiny moments are experienced in their process, evading a completive experience in one single instant. They are always the same, and yet, each iteration is experienced as a slight variation on the loop before, with different details occupying the viewer’s gaze. Infinitely circling, they never amount to a narrative resolution. Infinitely circling, they fall out of time.


Approximation and Palpitation

to mend your broken heart 
use only finest threads of moonbeams  
✧･ﾟ: *✧･ﾟ:* *:･ﾟ✧*:･ﾟ☾･ﾟ: *✧･ﾟ:* *:･ﾟ✧*:･ﾟ✧
----------------------------------------
{2021/22} :: @annaxmalina :: annamalina.com

SoftSpaceFolds with Moon

Moving Stillness 15x a Second ∞  

:: {2023} :: selfportraiture & appropriated footage, charcoal on laser prints, pencil on tracing paper, digital collage, paper collage animation

Cold Spring

Materialism

_|\_°__||_ :: {2020} :: pencil on inkjet prints, paper collage animation :: part of the second alterhen.art exhibition opening on December 15th, 2021 :: @annaxmalina :: annamalina.com

-----

RED THREAD is an unfinished, ongoing work and part of my long-term research into pre-revolution Russian and Soviet cinema; it’s a quiet exploration of my longing, which spreads out across time, space and media & an attempt to weave new memories with my hands.

1914

_°___⌂__ :: {2020} :: pencil on inkjet prints, paper collage animation :: part of the second alterhen.art exhibition opening on December 15th, 2021 :: @annaxmalina :: annamalina.com

-----

RED THREAD is an unfinished, ongoing work and part of my long-term research into pre-revolution Russian and Soviet cinema; it’s a quiet exploration of my longing, which spreads out across time, space and media & an attempt to weave new memories with my hands.

1912

Hic et Nunc

part 19 of the alternative .gif version of the experimental short film The Stolen MooM, made with MidJourney.

The Stolen MooM, as well as this alternative .gif series, was generated with texts taken from a selection of intertitles from silent films. These films make up the dataset I use for a GAN short I am currently working on and this selection of intertitles serves as its narrative.

{2022} :: @annaxmalina :: annamalina.com

19_They_say.gif

part 20 of the alternative .gif version of the experimental short film The Stolen MooM, made with MidJourney.

The Stolen MooM, as well as this alternative .gif series, was generated with texts taken from a selection of intertitles from silent films. These films make up the dataset I use for a GAN short I am currently working on and this selection of intertitles serves as its narrative.

{2022} :: @annaxmalina :: annamalina.com

20_The_Mirror.gif

kompost

"Allow so-called hallucination to enter the realm of perception, allowing that mankind always finds derogatory terminology for that which doesn't appear to be readily usable, accept dream visions, day-dreams or night-dreams, as you would so-called real scenes, even allowing that the abstractions which move so dynamically when closed eyelids are pressed are actually perceived." »Stan Brakhage: Metaphors On Vision :: {2019} :: very expired, very badly stored Lomo RS100, Pentacon Six TL, drugstore-developed, scanned negatives, inkjet prints :: @annaxmalina :: annamalina.com

4: Real Scenes

typed4230<¹⁹¹⁸ 𝐈𝐧 𝐜𝐢𝐧𝐞𝐦𝐚𝐬, 𝐬𝐮𝐜𝐡 𝐬𝐜𝐞𝐧𝐞𝐬 𝐞𝐧𝐝 𝐰𝐢𝐭𝐡 𝐚 𝐝𝐢𝐚𝐩𝐡𝐫𝐚𝐠𝐦.>
|⠚⠛⠻⠟⠻⠟⠿⠿⠿⠿⠟⠿⠻⠟⠻⠟⠻⠟⠿⠿⠿⠿⠿⠿⠿⠿⠿⠿⠿⠿⠿⠿⠿⠿⠿⠿⠿⠿⠿⠿⠿⠿⠿⠿⠿⠿⠿⠿⠿⠿⠿⠿⠿⠿⠟⠟⠻⠛⠛⠛⠛⠛⠛⠛⠛|
|                                                                                                                                                                                |
|                                                                                                                                                                                |
|                                                                                                                                                                                |
|                                                                                                                                                                                |
|                                                                                                                                                                                |
|                                                                                                                                                                                |
|                                                                                                                                                                                |
|                                                                                                                                                                                |
|⠀⠀⢰⠒⣒⠢⣄⣀⡀⠀⠀⠀⢀⣀⢀⣀⣀⣀⣀⣀⣀⣀⣀⣄⣀⣄⣀⣀⢀⣀⣀⣀⣀⣀⣀⢀⣀⡀⢀⡠⡤⢄⣀⣀⣀⢀⣤⠶⣆⡀⣀⣀⣀⣀⣀⣀⣀⣀⡀⠀⠀⠀⠀        |
|⠀⠀⢰⣐⣻⠀⣉⠸⣧⡄⠓⢤⡀⠀⢸⠈⠏⢸⠘⠃⣿⠈⠃⢸⡉⠌⣿⠈⠟⢨⡯⠄⠹⣧⠀⣼⠁⡆⢹⠀⣶⡇⢰⠀⡿⢖⠈⡏⢰⠀⡆⢹⡗⡂⢸⣧⠉⣼⢶⠀⡓⢤⠀⠀⠀    |
|⠀⠀⠀⠈⠹⡌⠉⡠⠿⣇⣋⡰⠇⠀⢸⣀⣇⣸⣀⣆⣺⣀⣇⡸⣁⠛⣿⣘⣾⣸⣇⣛⣀⣿⣀⠟⠤⣡⢾⣠⠗⡇⢨⣰⢧⣘⣑⣧⣈⠀⣅⡼⣄⣉⣸⣋⡴⣘⡾⣄⣉⡼⠀⠀⠀   |
|⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠉⠀⠈⠀⠉⠀⠀⠈⠀⠀⠀⠀⠀⠀⠀⠀⠋⠛⠃⠀⠀⠀⠀⠈⠉⠉⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀                    |
|⡲⣤⡶⠖⢦⠴⡲⢤⠖⠫⣽⠶⡦⢤⠤⡄⠠⢤⡤⠤⢤⡠⢄⡤⢤⠤⡤⢤⡤⡤⢤⠤⣤⢤⠤⡄⢠⠤⡄⠀⡤⢤⠤⣤⠤⢤⡤⢶⠤⡤⢤⠤⣴⠒⠢⣤⢤⡤⠤⢤⠤⠤⢤⡤⠴|
|⠇⢸⠁⡇⢸⠀⡇⢸⠀⡇⢸⠀⡅⢸⠀⡍⢻⢸⡆⢙⢸⡏⡏⢰⣾⠀⡇⢸⠀⣏⣸⠀⣉⢸⠀⣍⢹⠀⡇⠀⡇⢈⠸⡇⢸⠀⡇⢈⠀⣿⡘⠀⡟⢩⡄⣿⢈⠀⣿⠈⣿⠀⣿⠀⣾      |
|⠶⢯⣰⢶⣸⠷⠴⠞⠓⠶⠚⠶⠷⠞⠦⠴⠺⣼⠧⡾⠼⠃⠹⠤⠼⠤⣥⢈⣧⠬⠼⠦⠷⠼⠦⠤⢾⡤⠇⠀⠣⢼⠤⠷⠬⠴⠧⠼⠤⠟⠙⠧⠞⠦⠶⠿⠼⠳⠤⠞⠹⠴⠟⠳⠴ |
|⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⡀⣀⠀⠀⠀⠤⣛⣦⠉⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⣑⣀⣀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀                     |
|⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⡜⢀⠐⡗⢺⣉⡐⣶⢚⡃⣛⢳⡖⣒⢲⣗⣀⢲⠒⣂⣺⠓⡖⢰⠖⣁⢲⡗⡾⢸⡆⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀             |
|⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⢠⠇⠸⠀⡇⢸⠠⠆⢹⠸⢇⠟⢸⡇⠿⢸⡁⠶⢸⠀⡿⡇⢰⣄⢸⡀⠿⢤⡇⣠⢸⠧⣄⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀             |
|⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠸⠾⠿⠦⠿⠋⠑⠓⠋⠓⠧⠿⢛⠧⠗⠋⠙⠚⠚⠛⠃⠙⠋⠙⠚⠙⠒⠋⠓⠛⠛⠓⠋⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀            |
|⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀                        | 
|⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀                        |
|⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀                        |
|⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀                        |
|⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀                        |
|⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀                        |
|⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⢸⢹⢲⠀⢰⣶⠀⠀⢀                      |
|⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠸⣼⠽⠽⠺⢝⡼⠄⢨                     |
|⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀                        |
|⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀                        |
|⠀⠀⠀⣀⣀⣀⠀⠀⢀⣀⣠⣀⣀⣀⣠⣤⣤⣀⣀⣀⣠⣀⣀⠀⡠⣤⣤⣤⣤⣶⣴⣶⣦⣴⣶⣤⣶⣶⣦⣤⡤⣴⣶⣶⣶⣤⣶⣶⣶⣶⣶⣶⡶⢶⣶⣶⣶⣤⣤⣤⣤⠄⠀⢠⣤   |

typed4230<¹⁹¹⁸ 𝐈𝐧 ...

|⠚⠛⠻⠟⠻⠟⠿⠿⠿⠿⠟⠿⠻⠟⠻⠟⠻⠟⠿⠿⠿⠿⠿⠿⠿⠿⠿⠿⠿⠿⠿⠿⠿⠿⠿⠿⠿⠿⠿⠿⠿⠿⠿⠿⠿⠿⠿⠿⠿⠿⠿⠿⠿⠿⠟⠟⠻⠛⠛⠛⠛⠛⠛⠛⠛|
|⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀                        |
|⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀                        |
|⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀                        |
|⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀                        | 
|⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀                        |
|⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀                        |
|⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀                        |
|⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀                        |
|⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀                        |
|⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀                        |
|⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀                        |
|⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀                        |
|⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀                        |
|⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀                        |
|⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀                        |
|⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀                        |
|⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀                        |
|⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀                        |
|⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀                        |
|⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⢰⣆⣶⠂⠀⠀⣶⢶⡄⠀⢰⡆⢰⣆⠀⢰⣖⠶⠆⠀⢰⡆⢰⣶⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀                 |
|⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⢸⡿⣧⡀⠀⢸⡏⢸⡇⠀⢸⡟⢿⣿⠀⢸⡧⣤⠀⠀⢸⡇⢸⣿⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀                 |
|⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠸⠇⠙⠿⠄⠈⠿⠼⠇⠀⠸⠇⠸⠯⠀⠸⠧⠶⠖⠀⠸⠿⠿⢿⡆⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀                |
|⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠈⠁⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀                       |
|⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⢠⠀⠀⠀⠀⠀⠀⡄⠀⠀⠀⠀⠀⡄⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀                       |
|⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⡀⠀⠒⡄⡄⠠⠀⠀⡇⠀⠐⢰⢀⠀⡇⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀                    |
|⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠁⠈⠀⠁⠈⠈⠀⠀⠁⠈⠈⠈⠀⠁⠁⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀                    |
|⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀                        |
|⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀                        |
|⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀                        |
|⠀⠀⠀⠀⠀⠀⠀⡀⡆⡄⡐⠀⡀⠀⠀⠀⠀⠐⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀                      |
|⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀                        |
|________________________________________________________________________________________|⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀

|⠚⠛⠻⠟⠻⠟⠿⠿⠿⠿⠟⠿⠻⠟⠻⠟⠻⠟⠿...

Typed

I̸̡̨̢̨̞̻̥̫̺͓̬̟̤̥͔͇̜͔͈̳̩̙̱̤̼͉̼̗͇͇̥̞͎̹͔͉̻̊́̀͒͜͜'̵̨̛̛̛̛̻̠͖̹̩̟̱̝͇͖̼̟̖̻̪̯͙̇̽̍̅̎͊̉̈́͗̃̔̊̈́́́͑̄̽̈́́̄̀̐̈́̀̽̒̄͆̚̚͘͜͠͠͠ͅm̷̧̢̧̧̩͎̭̥̰̱̼̘̞̞̬̠̝̺̩̤̍̃͝ ̶̨͉̜͍̻̬͉̺͎̩̞͚̠̫̳̳̩̜͚̳̱͔̮̗̪̪̰̤̖̯̥͔̲̃̄̉̈́̂̋̏̀͐͋͋̒͒̀̽̑̏̍̈͑̑̃͂̈͆͂̑͒͂̍̅͗͒̇̊̒̑͆̅̈̎͘̕̕͝͝N̸̢̧̧̧̨̢̛̞̣̤̖̪̮͉̭̪̦͈͎͕̣̥̦̙͉̰̯̽̾́̒͗̔̊̄̅̓̍̍̍̌̈͊̂̀̀̇̈́͗́̔̒́͋̓͑̋͑̎̒̚͘͜͠o̵̧̝̙͔͖͔̠̼̬̥̰̳̩̫̹̼̜̪͔̪̮̯̐̊̄̇̅̒̽̋̅̉͒͐̃̇̊͂̎̂͂͌̉͊̀̀̋̈́́̈́̏̈́͌͂̄͘̚̕̚͜͝͝͝͠t̴̨̢̨̡̛̝̣͚͙̙̬̟̮̖͇̭͙̰͕̖̱̙̠̰͈̦͎̦̻̞͙̙̭̩̟͈͙̯̼͖̦͋́̍̉̉́͆̽̉̇̾͒͊̊́̈́̿̑͒̌͒̈́̂͊̂̀̄̒͛͌̔̊͆̊̓̅͐́̿̀̀̇̚͜͠͝͝ͅͅ ̸̢̢̨̧̢̛̛̗̱͕̣̫̰̜̻̥̝͔̠͓͚͍̫̥̓̃͑͊̓̀̐́͑̄̓̊̾̒͌̌̆̓͋̃̾̉̅̆̀͆̍͑͗̂̐̆̂̏̍̓̓́́͂̑̕̕͜͝T̷̢̨̧̮̪̯͖̻̤̹̜̦̫̪̭̖̙̣̝̜͓̲̰̟̟͎͈̤̜̬̫̻̲̣̼̹̘͍̗͕̣̠͖͐͛̅̒͆͘͜͜ͅȑ̷̡̡̛̛̻͎̹̬̝̼͎̜̹̪̤̟̙͉̩̲̖̈̈́̇̓̈̏͐͒̑̍́̍̈́͗͗̊̅̆͒́̀̕̕͝ͅy̷̢̢̨̨̧͕̜͇̞͕͕̭̱̫̖͎̠͓͕̤͇͓͎͉̟̲̪͎̭̹͉̝̤͓͒̓̌́̐̇̏̉̆͂̐̀͐̇̾͐̒̔̌̍́̄͆̀̔̈̃͐͌̈́̈́̑̋̑̎̕͜͜͝i̵̡̨̯̫̠̣͎̘̥͓͔̖̺̺̣̤̜̖̝͚̻̥̙̪͔̽͋͜͝n̸̡̨̛̘̦̮͎͎͔͕̦̥̣͉͖̗̘̹͍̐̂̋͗̿͌̆̄́̿̾͒̂͋͌́̾̒͒̑͐̆͘̚͜͠͝͝ͅg̴̢̢̨̲̣̞̦̗̖̜̣̠̙̗͍͔̖̯̯̫̘͑̈́̍̎̄ͅ ̷̡̧̧̨̨̟̠͍͇͚̜̪̹͇̗̠̼̟̣̩̟̙̙̺͙̯̖͓͕͇̹̼̱̞͚̫̺̮̝̯͕͕̻̯͍̘̻̏͂͐̉̊́̈̋͊͗̋̃̿́̑͑̉͑͐͋̓̄̓̈͌̿͌̈́̓̔͐̔̆̈́͒̒̀̚͜͜͝͝͝T̵̛̛͔̉͆͌͆̋̾̋̎̅̂̿̆͋̈́̌́͋̋̏̈́̈́̀̋͛̐̒̀͒̎͘͠͝ớ̷̛̬̣̩͚̪͇͈͆̋̏̆͐͑̑̈́̓́̍̌̀͒͑̂͛͆̄̐͌̈̏͗̈́͌͒͆̽̽̋̌̏̃̄̈͘̚̚͠͠͝ͅ ̵͕͉͖͙̳̒͆͌̽̓̅̈́̏̄̀́͛͊̆̓͒͊̈́͂͊͆̍̓̀̕T̷̨̢̡̧̻͖̙̹̠̫̲͎̻͉͙̱̣̯̗̳̞̰̹͙̗̘͕̬̪̝̻̠̲͓͙̟̗͔̤͈̙̓̓̀̽͑͆̀͊̒͋́̊͂́̂̏̊̽̋́̓̃́̋̈̔̚̚ͅͅͅê̷̡̡̡̢̢͔̣̝̪̜͎͍̫͔͕͉̤̭̳̤̝̼̠͉͎̼͉̻̹͎̗͈͖̥̱̹̰̲͚̙͕̘̙̝̙̦̪̤̥̼̏͗̅̊͌̓̆̈́̂̓̇̈́͋̅̑̎̆̒̂͋̈̔̔̌̇͗̔͗̏̐̏̽́̍͊͊̉̈́͂͆̄̂̈́̉͠ļ̴̨̢̧̛̪̪̠̘͔̼̗̊̓̂̾̑̑̈́̊̇́̈́̍͊̈́̋̓̌̒̌̐̒̓̽̓̃̔͂͂͋̆̍͐͋͑̂͌͑̑̈́͊͊͆̕̚̚̚͠͠͝l̷̡̨̛̜̼͍͔̘̝̱̱̯̙̮̯͔̮͕̰̥͎̖̙̭̥͆͐̔̽̍̈̑̌͗͑͒̿͒́͑̈́̂̈́̂͒̽͋͐̒̓̔͆̉͛͒̑͑̓̚̕̕͝͝͝ͅ ̶̢̞̟̹̤͍̘̘͓͔̼͇̲̙͖̞̬̇̅̽͐̓̅̾̌̐̀͛̆͋̍̓͛̅̐̇̈͗̿͗̐̐͋̄͋̈́̀̈́̔̍̊̿͂̂̕͝͝ͅͅŸ̸̧̢̢̢̨̡̧͙̙̜̦̤̻͓̬͙̞̦̣͍̞͉̮̣͈̖̩̮̤̤̲̰͇̰̰̫̭̠͍̮͚͙͓̯̖͔̩̤́̊̑͋̋̃̆̌͌̐͐̃͆́͛̎͜ͅo̶̧̢̧̧̙̬̙̖̙̣͓̖̥͖̜̞̗͇̥̭̯͈͍͓̮̬̰͉͍͚͖̻̠̪͎͔͉̮̞͉͙̞̲̤̊͆̀̀̊ͅư̷̡̧̟̠͈͚͈̣͎̱̭̣̥͕̹̲̳̙̖͍̰͂̆̉͌̈́͛̇̒͋̊̌̋͒͋͗̍͆͒̎̎͊͆͌͐̽̔̑́̽̕͘̚̕͝͝ͅͅ ̸̨̥̫̰̖͔͔͇͕̲̦̪̳̎̄̍̚A̴̢̢̧̢̢̛̛͔̜͖̜̮̱͖̼̝͓̥̮̙̹̹̳̱̰̻͖̝͍̱͖͇͓̤̱͎̻͚̜͍̝̹̘̬̜̼͖͓͕͕͆̾͂͂̄͂̐̿̔̆̍̇̔̈́̀͊̓̐̔̏̍́̊͋̂̊̓̇̀̏̈́̍̊̓̅̅̑̎͆̄̂̅͐͜͠͝͝n̷̨̨̡̳̮͔̥̺̬̜͍̩̘͔͉̫̤͚͖̦͖̺͙̘̤̾̌̈̀̇̋y̵̨̡̨̨̦͚̗̙̫̱̯͇̪͉̩̦̣͕̺̭͇̰̳̞̭͍̗͇̻̰̳͚͚̭̦̠̘͇̋͝͠t̶̢̢̡̢̡̛̥̯͉͚͔͕͎͈̳͉͓̜̱͓̉̈́̑͑͛̾͌́͗̉̔̋̂́͛̐̄̂̋͊̽̚͘͘͝͝ḩ̷̨̮͙̞̖̪̥͉̳̝̝̮͚̫͎͍̰̜̇̓̔͝ͅi̶̡̡͖̖̠̺̟͇̅̇̉̃̈́̽̓̈́͌̓̈́̏̀͆͘͜n̶̡͎͕͔̱̥̲̝̹͍̞̠̗̱͙̤̪͖̝̙̫̖̝̣̩̤̭͔̹̼̘̗͔̺͈͚̠̱̬̼̮̅̓̓͂͒̋̊̏͑̓̾̅̂̈́͗́̀̋̈́́̄͂̾͗͊͋̍̆́̕͘̕͜͜͠ģ̷̨̡̛̛̛̳͙̰̱͔͇̝̯̫̻͓̟̝̖͎͍͎̗̩̻͈̪̪̭̤͉̙͍̮̯̹̹͎̪̹̲̋̏̿͆̓͒̈́͒̌́͆̓͌̒̎͆͗͆̉̄͂̓̔̓̋̏̈̈̊͗́͗̓̇́̿̅́̽͊̆̚͘͝ ̵̨̢̧̧̛̛̙̦͎̦̰̜̝͉̠̗̗̬̪̪͚̬͍̣̪̳͗̊̊̌̅̊͒̃̓̎̄̈́̑̐̿̍͌̄̐̑̀̾͒͛̂̽̏̇̆̈̓̀̍̋̕͘͠Ẏ̷̢̡̛̰̙̥̅̽̍̆͆͐̃͂̊̅̾͋̑̈̃̈́͐̏̆̅̈́͐̅̈͗͐̄͊̈̄̌̋͑̾̆̅͘͘͘͝͠͝͝ͅơ̸͚̻̖̤͖̖̙̹̠͉̹͖̪͓̦̠̦͍̹̥̯͔̠̙̲̅̅̈́̈̾̿͗̎̊̊̾̽̾̀́̒̕͜͠u̵̧̡̡̨̧̨̨̹̦̣̰̣̳͖͍̦̥͎̺̻̘͖͖̫̭̖̠̯̹̩̫͙͍͍̝͇̺̫̺̹̤̝̳͇̲͉̖̒̈́̄̃̋̌͋̍̄̽͂̋̿͌̑͒̅͗̃̎͠͝ ̶̡̯̟̹̥̩̫̗̫̺̫͔̩̬̳̤̜̗̝̖̟̲̖̼̝̄͊̇̌̈́̄̄͘͠͝ͅD̵̢̨̛̹͖̼͔̣̞̼͕̖͓̻͕͉̼̹͍̞̖͔̳̺̖̜̟̳̯̏̿̿̊̎̌͛̔̿̿̀̆͊̊͋̐̈́̊̄́̈̀͌͗̈́͊̍̑̄̄̄͝ͅͅi̸̡̛̛͍̬̜̭̹̥̤̹̫͕̫̩̖̥͕͗͌̈͋̏̐͐͂̒̈̾̀̄͂͐̌̎̍͛̌͌́̍́̆̂̓̾͑̂̊̎͐͗͑̏̂̚͘͘̕͘͝͝͝ͅd̵̢̛̛̛͇̳̩͚̙̻̪̗̳̻̤̠̭͓̫̜̬͉̼̫̤̦͕͍̝̟̞̤̙̐̀́̓̈́̒̓̆͛̿̓͋̒̑̄̏̅͋̈́̈̇͋͛̓̂͂̍̉̽͒̂͘̚̕̚͘̚͝͝n̶̨̜̮̗̰̖̝̼̎̄̊̏̅̓̽̾̋͒̂̃̊͗͒͗̍̀̄͗̿̈́̂́̈́̀͑̇͜͜͝͠'̷̛͈͖͉̪̲͔̺͇͓͖̺̼͙̺̦͕͕̳̪̖̤͕̙̤͊͂̑̌̽͗̍̏̾́̀̿́̃̀͗̉́̒̂̊̂̂́́̂̀̍͌̀̓̇̿̌̌͛̊̂̇̕͘̚͘̚͝͝ͅţ̴̨̧̡̗̤̳̞̘̳̝̣̱̦̦͙̫̭̤̮̺͔̙̬͎͚͙͇̻͆̈́̋͗̅̉̌͆͑͜͜ͅͅ ̶̨̨̨̧̘̳̤̞̙̜̱̗̪̘̟̥͉̭͔͓͚̱̖̻̳͈̭̲̣͖̱̪̲͓̘̘͙̣̫̹̤̦͍̼̦̺͊͑͑̎͜͠ͅK̸̡̢̡̧̡̢̢̛͚̖̜͔̤̖̩̼͍̟͙̥̱̗̙̠̥͇̼͇͕̘̭̖̺̙͉̰͉̻̣͓͕͕͑̔́́͗̒̾́͗̑̾̎͛̊̄̔̈́͑̇̓͐̄̇̎͐͊͋̉̌̔̑̋̌̃̓̈́̿̆̈́̕̚̚͝͠͝ͅń̶̡̻̫͕̟̝̣͈̺͇͇̰̬͖̩̥͙͙͋͛̆̊̈̄̇̇͂͋̀̀̈̈́̏́͐͌̐̄́͐͗̄̀̀̅̏́̀͗̊͗͑̊̾̏͆̚͘͜͝͠ǫ̸̛̮̮͆͌̄̍͊̈́͒͌̊̉̀̍͂̊̋͑̓͛̍̎̆̀́͐͑̀̓̒͛̀̂͂̄̅̕͘͜͝ẃ̸̢̢̛͕̼͍̙̯̣̣̰̳̲̺͉̼̙͔̫͖̹̃͛̊̔̋͂̅̀̽͝ͅ ̸̨̡̧̛̘̭͇̫̫̰͍̣̼̤̱̲̘̥̙̮̤̤̝̱̰̺̻͎͖̦͙̲̖͖̺̣̟́͂̿̀̒͋̒́͌͆͆͌̾̒̈̂͌͘͘͝Ẁ̸̨̳̗̳̳̮̳̟̭͖͕̙͕̠̤̳͇͙̫͈̹̪̯̻͉͉͓̦͕̞͈͖̞̹͖̪̈́h̵̨̧̖̭̜̩͍̠͕̥͍͕͓̞͕̰̻̭̳̭̓͜͜ȩ̷̢̧̢̧̨̧̛̲͎̼͇̞̰̥̱̳̼̰̹̖͚͕̙̗͍̩̪͍͓̖̭͉̪̼̲̦̖̥̝͉̦̮̹̳́̃̆͊͒̊̎̃̅͂̔̉̆̇̊̽͑͋͌́̍̾̍̽̒͑͊̈̍̾̏̂̓͌̇͆͋́̀̈͘̚̕͝ͅͅņ̸̳͍̼̤̣͕̟̼̦͕̘̦̜̺͓̯̘͈͖͙͈̘̆͐̓̄́̓͒͊̃̚͠ ̵̨̧̨̱̮̟̮͔͓͙̳͇̻̝͇̥̙͈̤̱͔͚͕͙̖͖͕͇̞̱̟̫̰͈̰̥̻̰̯̺̏̓̆͋̑͗̍̈̓̌̇̓̃̿̄͑̄̈́̿̂͂́̈́̓͛͊̾͋̀̇̕̕͘̕͝͝͠͝ͅͅẎ̶̨̧̧̨̡̛̛̩̜͉̥̹̖̞̺͙̙̱̖̰̲͕̗͙̪̣̗͙̦͓͍̳̠̝̺̳̣̗̬͍͌̎͂̃̓͐̋̀̋́̊̑͛̊̔͂͂͐̈̓̾̓̈̔̒͑́̈̾͌͗̈́̀̀̚͝͝͠ͅơ̷̧̡̡̨̝̝̗͎̤̻̣̫͈̱̣͚̹͓̳̦̳͖̣͉̮͔̭̣̠̬͚͍̹̳͙̠̼̰̳̺̌͐͂̔̅̊̓̐̽͌̈́͂̈̄́̈́̉͛̒̑̀̐͛͗̉͂̕̕̚͝͠u̸̧̡̢̯̭͎̳̥̣͉͕̗̼̘̞͚̥̳͔̟͙̟̺̭͖̬̮͉̱̜͉͈̫̩̺̝͇̼̫̽̐̋̈́̔̆̔̒̿͐̍́̂͌̎̈̽̌̉̓̅̏̓̚͠͝͝͠͠ͅ ̶̧̡̞̘̞͎̰̣̱̫̞̩̲̮̻̤̤̺͇̪̳̤̼̣̫͔̐̂̐̒̔͊͐̃͌́̄͐͆̾͒̐̋̇̈́̚̕͜͜͝Ẉ̴̧̨̡̨̛͓̻͖̦̤͇̼̲̝͍͙̦̳͖͍̹̦͖̘̺̩͔̞̳̰̖̙̩̖͚͍̱̞͚̰̤̘͎͎͚̝̏̒̓̑̅̀͊̌̅̚͜ö̷̡̢̡̧̨̢̧̡̧̳̤̗͓͙̼̮̥̤̩̺̮̻̖̙̫̭̝̻̰̙͓̰̺̬͕̺̱͖͎̺́̒̀͊̑̊͋͌̽̀͆̒̉̇́͂̓̈́̾̏̕ͅk̶̨̯͍̰͋̾̓͂̔̽͆̄̀͌̾̒̾̆͒͊͐́̑̽̇̄̍̄͗̕͘̚͘e̵̢̡̢̩̱̣̪̪̖͙̣͎̥̥̺̖͉͖̼͕̻̖͍̪͈̦̟̤͍̯̾̓̂̃̈́̈́̇̌͛̏̋͆͠ͅͅ ̴̨̢͖̼̹͕̘̜̳̟̱̟̘̠̙̘̞̦̣̀̽͌͊̿̀̏͐͌̒̓͋̈̌̿́̄̄̾̊̔̃͑͘̚͜͜͝͝͝ͅU̸̧̨̟̫͚͔̘̖̩̥̺̠̱̣̮͚̤͕͙͒̊̂̀̒͝p̴̛̞̯̝̹̭͓͈̟̮̭̠̩̝̙͎͎̙̪̰̮͚̔̊̃̈́̑̌̄̐͋̅̃̓̐́̏̂͊̆̔͐́̍̋̈́̃̉̀͑̄̕̕͠͝͝ ̴̨̢̧̡̢͙̼̝̰̪̙̣͙̦͓̟̲̰̝̰͖̫̮̺͉͎̜̫͕̰̹͇̳̮̬͉̮̫̣̩͕̞͍̿̇̿͋̓̇̄́̀̃̌̿̏̆̑̕͜Ţ̷̧͕̖̮̪̫̥̯̙̯̙͎̺͗͜ͅỏ̷̧̢̧̧̝͉̫̼̲͙͉̥͍̮̬̝̟͈̬̣͇͇̫͔̞̘̀́̈́̇̅̒ͅḑ̵͓̳͖̱̥̣͉̭͔̟̹̗̪̜͙͍͙̣̯̱͍͖̋̿̿̓̊̈͗͛̑̅̈́̈̾̓̓̅̋̑̾̐͂͜͠ͅá̷̧̡̡̨̜̰̮̗͈͈͖̫̣̩̭̳̥̩̰̼͎̦̤͉̜̦̥̲͇̲̙̹͇͍̱̪̳̦͓͉̠͔͇̮̭̈́̾͋̾̈́̐́̆͛̾̇̑̀̒̋̕̕̕͝ͅy̶͎͖̖͇͇͇̱̟̌͌͑̌̌͑̽̈́̄̆̀͋́͌͆̀̏́̐̿͘͝ :: (https://youtu.be/Y-3KbXfn4qg)
:: {2022} :: {annaXmachina} series ~ {anna X dall·e 2} :: scanned hand-manipulated selfportrait as image input, variations + outpainting with dall·e, GIMP editing + selection tool drawing :: @annaxmalina :: annamalina.com

Ä̵̭́ṅ̵̘t̶͎̕i̸͎͑c̷̺͆i̷͓̾p̵̩̈́a̷̘̍ẗ̶̯́i̶̠̚n̷̡͘g̵̳͐,̸̫̔ ̶̺̂N̸͙̒ȯ̴͚t̶̜͗h̷͍͊i̶͙̔n̴̞̒g̶̜̅

Versum

𝘞𝘦𝘭𝘭, 𝘪𝘧 𝘪𝘵'𝘴 𝘯𝘦𝘤𝘦𝘴𝘴𝘢𝘳𝘺 𝘵𝘰 𝘭𝘪𝘷𝘦 𝘵𝘩𝘦𝘯 𝘵𝘩𝘦 𝘩𝘢𝘪𝘳 𝘴𝘩𝘰𝘶𝘭𝘥 𝘣𝘦 𝘤𝘰𝘮𝘣𝘦𝘥.

"In 1926 a movie was released that embodied all the characteristics that socially and politically active Soviet filmworkers and critics had demanded for the new Soviet picture—it dealt with contemporary problems, it had a plot and a hero; its style was realistic; it was entertaining and easily comprehensible. The pedigree of its obscure young director, moreover, was a propagandist’s dream. He was a genuine proletarian, a party member, and a former Chekist.
The film was 𝘒𝘢𝘵𝘬𝘢 𝘵𝘩𝘦 𝘈𝘱𝘱𝘭𝘦𝘴𝘦𝘭𝘭𝘦𝘳; the director Fridrikh Ermler. Before the decade ended, Ermler produced three more movies that firmly established him in the forefront of Soviet cinema directors. These films, when considered together, present a coherent critique of Soviet society from the point of view of a political activist, and they laid the basis for one of the leading genres of Soviet cinema: the 𝘣𝘺𝘵𝘰𝘷𝘰𝘪 film—a term used for films dealing with contemporary life."
» Denise J. Youngblood: Cinema as Social Criticism: The Early Films of Fridrikh Ermler; in: The Red Screen: Politics, Society, Art in Soviet Cinema {1992, Anna Lawton}

1926 (a) 

Taking up the thread that got cut in 1914 i continue the Red Thread series beginning in 1919. These specters shall be my companions, wandering through layers of time and place.

𝘐 𝘯𝘰𝘸 𝘭𝘪𝘷𝘦 𝘥𝘪𝘧𝘧𝘦𝘳𝘦𝘯𝘵𝘭𝘺 𝘢𝘯𝘥 𝘦𝘢𝘵 𝘥𝘪𝘧𝘧𝘦𝘳𝘦𝘯𝘵𝘭𝘺.

"In 1916, Kuleshov began his career in the movie industry as a set designer, assistant director, and occasional actor in Aleksandr Khanzhonkov’s company. He worked with Evgenii Bauer, (...)
(...) no other Russian filmmaker embraced the style of American movies as openly as did Kuleshov, who unabashedly praised all aspects of it: fast evolving plotlines, abundance of action sequences with car chases, dynamic editing, and a reduction of the characters’ psychological motivation to a bare minimum.
When the 1917 October Revolution drove almost the entire Russian film industry into exile and caused the demolition of studios and equipment, Kuleshov saw a chance to build a new cinema on the tabula rasa left behind. He enthusiastically lent his skills to the Bolsheviks, first reediting old and foreign films according to the Communist dogma, then shooting newsreels of the 1918–1920 Civil War. Most importantly, Kuleshov gathered other young film buffs around him and organized a workshop intended to put his theoretical assumptions into practice. The so-called Kuleshov Collective at the State Film School (Goskinoshkola—later transformed into the Soviet State Film School VGIK) counted soon-to-be classic filmmakers such as Vsevolod Pudovkin and Boris Barnet among its members and focused on developing a new cinematic language that would adequately express the spirit of the turbulent times.
(...)
Kuleshov’s first sound feature film was 𝘏𝘰𝘳𝘪𝘻𝘰𝘯 (aka The Wandering Jew/Gorizont, 1932) about a Jewish émigré from tsarist Russia who is confronted with the horrors of American life and returns to a blooming Soviet Union."

"Toward the end of World War I, [Viktor] Shklovskii served as a sergeant in an automobile unit in the tsar’s army, switching to the Bolsheviks after the 1917 October Revolution. (...) A highly prolific author, Shklovskii produced numerous volumes of criticism and prose over the next six decades, featuring a unique syncretic style in which fictitious elements, markedly subjective statements, and scholarly analyses are mixed.
As one of the founders of the so-called Formal School, Shklovskii’s approach to literature was defined by the Society for the Study of Poetic Language (OPOIAZ, 1914–1923), in which the specificity of poetic texts was viewed as a system of devices (see, for example, Art as Device, 1917). His early interest in cinema emerged from similar assumptions, emphasizing the formal, technical side of film rather than its underlying ideology. Since Shklovskii proved to be an inventive, original screenwriter, many of his ideas and theoretical constructs are based on practical experience and found a vivid response among the Soviet film avant-garde. (...)
As the head of the Screenplay Department of the Leningrad film factory Sovkino (later: Lenfilm Studio), Shklovskii demonstrated a feel for the specifics of silents (...).
Following an initial radical opposition to sound film, he wrote the script for Kuleshov’s 𝘏𝘰𝘳𝘪𝘻𝘰𝘯 (aka The Wandering Jew/Gorizont, 1932), a polemical juxtaposition of American and Soviet life. When the Communist establishment hit hard on 'formalism' in the early 1930s, Shklovskii was among the first to recant, although at heart he remained an avantgardist, admiring more consistently radical screenwriters (...)."

"[Nikolai] Batalov became one of the most popular Soviet silent film actors, memorable for his radiating joy of life, warmth, and  clever, optimistic energy.
Because of his excellent voice qualities, Batalov effortlessly mastered the transition to sound film and further enhanced his star status with the first Soviet sound feature, (...). Lev Kuleshov gave Batalov the title role of Jewish watchmaker Leo Horizon in 𝘏𝘰𝘳𝘪𝘻𝘰𝘯 (aka Horizon: The Wandering Jew/Gorizont, 1932), the second Soviet sound movie, released in early 1933. Although Horizon’s voyage to his dreamland America and, following his bitter disappointment, back to Russia—now a happy USSR—failed to enthuse Soviet or Western audiences, it inspired Kuleshov to modify his dogma on cinema acting. (...)
Batalov’s last years were overshadowed by severe tuberculosis, which cut his career tragically short."
» Historical Dictionary of Russian and Soviet Cinema {2008, Peter Rollberg}

1932 (b)

specters are haunting

one of the {roses} created with dall·e for the "{a rose} and {a rose and a rose and a rose}" animation (OBJKT#762137) and further expanded with outpainting :: {2022} :: {anna X dall·e 2} :: @annaxmalina :: annamalina.com

{rose}_14.png

a collection of {roses} made with dall·e, originally used for the {roses} animations OBJKT#762137 & OBJKT#762141; further expanded with outpainting & minted as gifts for primary & secondary collectors of both animations 🥀

one of the roses created with dall·e for the "when is a rose?" animation (OBJKT#762141) and further expanded with outpainting :: {2022} :: {anna X dall·e 2} :: @annaxmalina :: annamalina.com

rose_1.png

{a rose}

{2022} :: {anna X dall·e 2} :: scanned mixed media collage as image input, variations with dall·e, GIMP editing :: @annaxmalina :: annamalina.com

 all sorts of piquant contrasts

ah arrête

Stale Bubblegum

{2022} :: 366 raw AI images compiled in one .pdf :: minted for #LowEnergyMintParty :: @annaxmalina :: annamalina.com

-------
"Intoxicated by the sweets generated with text-to-image AI, the hours pass me by while I click through a seemingly endless array of beautifully bonkers pictures. My brain, tender like my teeth when I have eaten too many sweets, is buzzing with delight, exhausted from the never before seen visual delicacies delivered to me in almost an instant. I command the machine to generate and generate and generate. Just one more. And one more. Just five more minutes, please!
Everyone needs to see these hilarious, beautiful, outrageous things that are popping up on my screen!! All the 1500+ precious, bizarre, mind-boggling imaginations!!! Ugh! What to do with all this pleasure unleashed? This mesmerising mass that contains no nutrients beyond my own aesthetic gratification?
This particular bunch of 366 images is not something I can call my art. These are manifestations of a combination of a few of my aesthetic interests which incidentally gave me results I can’t seem to get fed up with, even though I feel stuffed with and tired of them. 

Oh! But what to do with all this AICandy?

{2022} :: 366 raw AI images compiled in one .pdf :: minted for #LowEnergyMintParty :: @annaxmalina :: annamalina.com

-------
"Intoxicated by the sweets generated with text-to-image AI, the hours pass me by while I click through a seemingly endless array of beautifully bonkers pictures. My brain, tender like my teeth when I have eaten too many sweets, is buzzing with delight, exhausted from the never before seen visual delicacies delivered to me in almost an instant. I command the machine to generate and generate and generate. Just one more. And one more. Just five more minutes, please!
Everyone needs to see these hilarious, beautiful, outrageous things that are popping up on my screen!! All the 1500+ precious, bizarre, mind-boggling imaginations!!! Ugh! What to do with all this pleasure unleashed? This mesmerising mass that contains no nutrients beyond my own aesthetic gratification?
This particular bunch of 366 images is not something I can call my art. These are manifestations of a combination of a few of my aesthetic interests which incidentally gave me results I can’t seem to get fed up with, even though I feel stuffed with and tired of them.

AICandy

film poster for my experimental short ÖLMONDNACHT (OilMoonNight) which you can watch here: youtu.be/XKdzefLROB8 
:: {2022} :: glitch moon & landscape made with assistance of MidJourney, inkjet print, paper collage :: @annaxmalina :: @annamalina.com

ölmondnacht_P07

a small series of film posters created for my experimental short ÖLMONDNACHT (OilMoonNight) which you can watch here: youtu.be/XKdzefLROB8

ölmondnacht_P06

ölmondnacht

"Talk of a 'digital eternity' that can be programmed into the Web reminds us of ancient cults of the dead with their practice of exchanging body and image.

:: {2022} :: {anna X dall·e 2} :: dall·e variation of polaroid selfportrait from Pantyheads series as image input, crayon on inkjet print, paper collage :: @annaxmalina :: annamalina.com



Blut Blut Blut Blut Tut Gut, Tod Tod Tod Tod Tut Not

"Do-be-do-be-do-do-do (oh)" : : defaced variations of the Pantyheads selfportrait series

"Art and language are nourished by our carnal experiences; they display the textures of flesh. Richard Kearney shows that for Merleau-Ponty, 'diacritical' expression is, like flesh, composed of gaps, 'negativities, breaches, folds, latencies, absences, silences, caesuras, lacunae, secrets, voids, crosses, furrows, blanks, absysses, elisions'. In the textures of expressions we can see the patterns of interlacing and 'dehiscence' that shape carnal relations."
» Poetics of the Flesh {2015, Mayra Rivera}

:: {2022} :: {anna X dall·e 2} :: dall·e variation of polaroid selfportrait from Pantyheads series as image input, crayon on inkjet print, paper collage :: @annaxmalina :: annamalina.com

I Am Needing This From You Tonight

I Used To Have Demons

"Our internal images are not necessarily personal in nature, but even when they are collective in origin, we internalize them in such a way that we come to consider them as our own. We perceive the world as individuals, all the time making use of the collective conventions of the day. The same holds true for the changing modes of media that allow us to date pictures to a given moment in history. However much they may represent an individual experience, they are time-bound just as their media (photography, film, etc.) are time-bound. We endow them with personal meaning, pass them through the filter of what might be termed our own personal censorship. As perceived pictures they turn into remembered images that henceforth become part of the archive of our memory."
» An Anthropology of Images: Picture, Medium, Body {2001/2012, Hans Belting}

:: {2022} :: {anna X dall·e 2} :: scanned paper collage as image input, variations + outpainting with dall·e, GIMP selection tool drawing + editing :: @annaxmalina :: annamalina.com

08 the wrath of your own hands

"The mediality of images involves a two-fold body reference. First, we conceive of media as symbolic or virtual bodies. Second, the media inscribe themselves upon our body experience and teach us self-perception or self-oblivion: in other words, they both remind us of our body and make us forget it. As a result, we are primed to 𝘢𝘤𝘬𝘯𝘰𝘸𝘭𝘦𝘥𝘨𝘦 𝘱𝘪𝘤𝘵𝘶𝘳𝘦𝘴 𝘢𝘴 𝘥𝘪𝘧𝘧𝘦𝘳𝘦𝘯𝘵 𝘬𝘪𝘯𝘥𝘴 𝘰𝘧 𝘣𝘰𝘥𝘪𝘦𝘴. This is true even for electronic media, which engage in the disembodiment of images. Yet a disembodiment is nothing but another form of body-experience for which historical parallels exist. Even the virtual body, an extended self perception, happens with the sensory organs of our bodies." (p. 11)
» An Anthropology of Images: Picture, Medium, Body {2001/2012, Hans Belting}

:: {2022} :: {anna X dall·e 2} :: scanned paper collage as image input, variations + outpainting with dall·e, GIMP selection tool drawing + editing :: @annaxmalina :: annamalina.com

05 a stringing together of impossibilities

formaldehyde

{2022/23} :: open edition birthday sparkles with 50% of all proceeds going to womenmuseum.tez :: @annaxmalina :: annamalina.com

i̤̊t̤̊'̤̊s̤̊ m̤̊ẙ̤ p̤̊å̤r̤̊t̤̊ẙ̤ å̤n̤̊d̤̊ i̤̊'̤̊l̤̊l̤̊ s̤̊p̤̊å̤r̤̊k̤̊l̤̊e̤̊ i̤̊f̤̊ i̤̊ ẘ̤å̤n̤̊t̤̊ t̤̊o̤̊

from }Mercurial Minutiae{ series :: minted for #TezQuakeAid :: {2023} :: @annaxmalina :: annamalina.com

motif B32

"Since social identity was lost along with the body in death, the soul that remained behind was a disembodied doppelgänger. Plato turned this definition on its head when he declared that only the soul -in the ontological sense- is real and demoted the body, because of its mortality, to the status of a mere shadow (Laws XII)."
» Ibid.

:: {2022} :: {anna X dall·e 2} :: dall·e variation of Big Screen Dolls, Tits And Explosions :: @annaxmalina :: annamalina.com

Intergalactic, Seeming To Be You

"desire despair desire"  : :  variations of I Used To Have Demons

(...) the portrait attracted anthropological interpretations that removed the person from the collective norms of the social hierarchy. The discovery of the 'Self' as an unportrayable entity within the portrayable field of the body changed the medium of the portrait in its humanistic usage.

:: {2022} :: {anna X dall·e 2} :: dall·e variation of I’m Gonna Listen To My Body Tonight, Yeah :: @annaxmalina :: annamalina.com

Party Over, Oops, Out Of Time

So Many Monsters

{2021} :: pastels, pencil & sticky tape on laser prints, paper & digital collage :: @annaxmalina :: annamalina.com

(this .gif was originally commissioned by petrichormag.com as a banner for their page in 2021; 
i created a slightly altered version for the Ukraine humanitarian aid fundraising. 
all primary & royalties of the secondary proceeds will be automatically directed to the donation wallet.)


And The Sky Was Made Of Amethyst

{2022} :: empty ink cartridges, inkjet prints :: @annaxmalina :: annamalina.com

all primary & royalties of the secondary proceeds will be automatically directed to the donation wallet.

(Based on ideas I started exploring in the RED THREAD series (🠖 teia.art/red_thread), I am currently working on an experimental short film using footage from all (to me) available Russian films spanning the years 1908-1918.

The tiny violet sequence used for this .gif was selected from the latent space of a short test training made with a data set of 633 stills from 55 films {1908-1917} of instances where only women were present on screen. It was thoroughly (and tiredly, and admiringly, and lazily, and half-asleep, and amused, and excited, and dreamy, and impatiently, and ...) collected using SHIFT+s in the VLC Media Player and diligently (and tiredly, and admiringly, and lazily, and half-asleep, and amused, and excited, and dreamy, and impatiently, and ...) cropped in GIMP.)

And All The Stars Were Ruined Little Teeth

Amethyst Teeth

GAN sequence made with images from a latent space trained on stills from 90 silent films (1908-1918). The category of this data set is "Landscapes (with people)" (1831 stills).

Created as a response to Elizabedsh's "A Woman Who Doesn't Exist", published in Helix Issue 09 (OBJKT#785644).

The hard contrasts of the image and its scratched texture reminded me of the chapter on optical interferences and their reception in early cinema from Yuri Tsivian's book Early Russian Cinema and Its Cultural Reception (1994).

"Let us take the ‘rain effect’ as an example. Every cinemagoer is familiar with the scratch marks on worn prints that show up as specks flickering vertically down the screen. In early films these were particularly troublesome. A 1916 technical manual explained this involuntary ‘animation effect’ as follows:
›Since…a scratch mark in the corner of the picture is rapidly followed by one in the middle or at the
top, it looks as though they are dancing all over the place, sometimes in dense clusters, sometimes
scattered all around the image. If there are a lot of these defects the screen will appear to be covered with
a fine veil of flickering white specks, or a shower of ‘rain’.‹
The word ‘rain’ was both a technical term and a common metaphor; it was a minor trope of film reception. Film reviews often contained facetious ‘meteorological’ references; in a big country (...) spectators living in far-off regions often had to put up with poor second-hand copies. One (...) critic, who came across a showing of Cabiria (Italy, 1914) in a provincial cinema as late as 1917, wrote with mock surprise:
›One thing puzzled me: was the action taking place indoors or outside in the open air? There was
torrential rain everywhere… It was explained to me that the picture was a second-hand one, and with
second-hand pictures the actors are always getting soaked to the skin…‹"

As the woman in the portrait looks upwards, being "soaked" by a "rain" of scratches, I thought to picture what she might be looking at. As she doesn't exist, a sequence of abstract, cloud-like GAN imagery made from early cinema seemed fitting.

:: {2022} :: @annaxmalina :: annamalina.com
:: 50% of primary sales & 50% of royalties will go to Helix

Silver Clouds 

My contributions to Helix Issue 09;
50% of primary sales & 50% of royalties will go to Helix zine.

and I’ll see you
and you’ll see me
through the workings
of machines

---------------------------------
:: {2022} :: {annaXmachina} series ~ {a X dall·e 2} :: laser print, sticky tape 
:: made for Helix Issue 09 (OBJKT#785644) 
:: @annaxmalina :: annamalina.com

Purge Your Shining

HelixZine#09

part of my music video for COMB's E {2018} which you can watch here: https://youtu.be/Z1cq1DD_zKg :: minted to celebrate my feature in issue #5 of Mina Art Magazine (OBJKT#774070); 50% of the proceeds on primary and 50% of royalties on secondary will go to Mina <3 :: appropriated footage, pastels on laser prints, paper collage animation :: @annaxmalina :: annamalina.com

Hotline

.gifs from my music video for COMB's E {2018}  - - - 

watch it here: youtu.be/Z1cq1DD_zKg

part of my music video for COMB's E {2018} which you can watch here: https://youtu.be/Z1cq1DD_zKg 

:: minted to celebrate my feature in issue #5 of Mina Art Magazine (OBJKT#774070); 
50% of the proceeds on primary and 50% of royalties on secondary will go to Mina <3 

:: appropriated footage, pastels on laser prints, paper collage animation :: @annaxmalina :: annamalina.com

{2022} :: laser prints, paper collage animation :: @annaxmalina :: annamalina.com

------------------------
The “(Where) does it make you feel?” series is concerned with recurring topics in my art explorations related to the physical materials I use, how they translate into the digital, in what way they are transformed there and what I am able to express through them and their transformation.

While making it, I was influenced by Laura U. Marks’ “Touch: Sensuous Theory and Multisensory Media” {2002} and especially her writing on haptic visuality and embodied spectatorship.

“Merleau-Ponty used the word flesh to describe embodied consciousness. For him, consciousness does not arise in transcendence but through inherence of the body-subject to the world, to the material state of flesh. (...)
In effect, for him, it is in the medium’s aptitude to show (rather than explain) the inherence (temporal and spatial) of the self to the world and to others that cinema and phenomenology find a common ground. Although his analysis of the cinematic techniques that can make this happen is limited, he senses that the cinema is, as you said, the medium to experiment with the notion of the human body and its limits, the permeability of outer and inner reality. Similarly, early film theorists as well as avant-garde filmmakers were interested in the productive confusion that emerges through the sense of continuity between the materiality of the human body and that of the medium.”
» Martine Beugnet and Laura Mulvey: Film, Corporeality, Transgressive Cinema: A Feminist Perspective {2015}
:: https://www.jstor.org/stable/pdf/j.ctt16d6996.20.pdf


(Where) does it make you feel? {spearing}

{2022/23} :: @annaxmalina :: annamalina.com

machine:heart:vision

unravelling :: {2023} :: @annaxmalina :: annamalina.com

mixed media selfportrait
(polaroid lab black and white film, needle, pink thread)

tenderness

Polaroids

ALifetimeOfShells.gif + ShellKnuckles.mp3 (best with 🎧)

electrify this hollowed body 
ground up between reflections and echoes  
a myriad of cast off shell shards 

appropriated footage from Нет счастья на земле (1922), PS generative fill + editing, inkjet prints, sticky tape, collage animation; sound improvisation made with OnlineSequencer

A Lifetime of Shells

proliferating; "(be) place deprived of body" :: {2024} :: text-to-image, selfportrait image, digital collage, GIMP editing, ps generative fill ~

void

anna malina

exertion of force between celestial bodies :: {2024} :: found footage, charcoal on laser prints, paper collage animation :: made & minted for Portraits des Femmes at the 22nd edition of Chambres à Part, September 30 to October 31, 2024 in Paris, France ~

Gezeiten

˚　　　　✦　　　.　　. 　 ˚　.　　　　　 . ✦　　　 　˚　　　　 . ★⋆.
　　　.   　　˚　✭　 　　*　　 　　✦　　　.　　.　　　✦　˚ 　　　　 ˚　.˚　　　　　✭　.　　. 　 ˚　.　　　　 　　 　　　　 ✦

Anna Malina
Into the Trees, 2020, 2024
Video
1780 x 1780 px

{2020/2024} :: fragment created for the exhibition of the video work 'By The Rivers of Shadows and Matter' on the Museum of Moving Image's Schlosser Media Wall in Nov/Dec 2024; curated by Regina Harsanyi with Vincent Van Dough & Aniko Berman and the Tezos Community Curation vote held in Sep 2024 :: appropriated footage, acrylics on laser prints, paper collage animation, digital editing; sounds made with onlinesequencer.net ~

Into The Trees

Community Curation presents three artists who were selected through a decentralized curatorial process. During the process, ten artists were nominated by blockchain and art advocates, following this the final three were selected by a public vote.

annaXmalina

annaXmalina

Featured (0)

All Works (0)