A finite social network where you get 100 posts—for life
Despite their lofty mission statements, today’s big social media platforms are centrally focused on one singular concept: more. These capitalistic software machines are designed to stoke a pervasive and ever-increasing cycle of production and consumption for the purposes of growth and profit. To accomplish this they leverage data and scale to produce signals and interface patterns that keep us engaged, promising connection and joy in exchange for increasing shares of our time and attention. The platforms embed within us the idea that our own sociality is best evaluated and understood through quantity. They reconfigure our sense of time in ways that can make minutes or hours ago seem old. And their personalized feeds teach our brains that the only content worth watching or reading is that which we can already imagine. In its tireless pursuit of users and data and wealth, big social media sacrifices human agency and potential on the altar of more.
But what if social media wasn’t engineered to serve capitalism’s need for growth? How might online collective communication be different if our time and attention were treated as the limited and precious resources that they are? Minus is an experiment to ask these questions, a finite social network where users get only 100 posts—for life. Rather than the algorithmic feeds, visible “like” counts, noisy notifications, and infinite scrolls employed by the platforms to induce endless user engagement, Minus limits how much one posts to the feed, and foregrounds—as its only visible and dwindling metric—how few opportunities they have left. Instead of preying on our needs for communication and connection in order to transform them into desires for speed and accumulation, Minus offers an opportunity to reimagine what it means to be connected in the contemporary age. The work facilitates conversation within a subtractive frame that eschews the noise and frenzy for a quieter and slower setting that foregrounds human voices, words, and temporalities. Though it may be disorienting at first to navigate an online social space devoid of the signals and patterns Silicon Valley uses to always push for more, Minus invites us to see what digital interaction feels like when a social media platform is designed for less.
Details about the project: https://bit.ly/3EcmS7Y
PLANK sent me a selection of their furniture and asked me to make something with it. It’s wonderful to have the opportunity of freedom from clients. My nephew Manuel was up fo assisting me, so we locked ourselves (this was before lock-down 🙂 into the studio for 2 weeks and started throwing ping pong balls.
Our main rule was: ALL IN CAMERA! NO FAKE!
It only took 2000+ attempts. Hope you enjoy!
Direction & Music: Lucas Zanotto
Assistant: Manuel Markart
Harrison Owen welcomes you to Open Space
Look around you with a new perspective and you’ll find magic just right around the corner.
Directed by Fernando Livschitz
Director’s cut visuals.
Version edited with the music from the amazing Reuben and the Dark x AG.
Directed by Fernando Livschitz
Thanks to all these talented people
Ludmila Rodriguez Moreno
Silvina Lesa Brown
The ultimate full moon shot. Dean Potter walks a highline at Cathedral Peak as the sun sets and the moon rises. Shot from over 1 mile away with a Canon 800mm and 2X by Mikey Schaefer.
This shot was part of a bigger project for National Geographic called The Man Who Can Fly.
Directed by Mikey Schaefer…https://bit.ly/3cWHJAK
Produced by Bryan Smith
Concept by Dean Potter
Slate – By Wil Bolton
From the Album: Time Lapse on Hibernate Recordings
Licensed through: Audiomoves – https://bit.ly/3a0qwEI
This is my animation Thesis Film done during my time at the Academy of Art University 2010. 🙂
Bridge is a story about four animal characters trying to cross a bridge, but ending up as obstacles to one another in the process. The moral behind this story revolves around how there are often disagreements or competing paths in life, and the possible results of pride, obstinance, and compromise.
Music by Greg Gauba.
Note: I noticed some websites have been featuring my work around, I am grateful for it. I also appreciate all feedbacks, critiques and comments! But some websites have mistaken that I worked for Pixar, which is a misunderstanding and it is not true. I just wish to correct that. : )
My interpretation of what a real Portal gun would be like if one existed. Based on the video game, Portal. I tried to match the game as close as possible. This was the most challenging project I have ever undertaken, consisting of 3D tracking, seamless camera cuts and 3D camera projection. ENJOY! The Visual Effects.
Can’t view it on Vimeo watch it on Youtube: http://www.youtube.com/watch?v=AsdEXlPsobI
For those of you that think the gun is a physical prop you can buy, well…..sorry to break the news to you, but it’s entirely CG. The 3D Portal gun was replacing/covering up a painted up coffee can with tracking markers. Here’s a 3D turntable of the model, https://bit.ly/3rvBRmb
For everyone that wants to know the song used: Snakes On The Take – Freeplaymusic.com
Autodesk Maya – Modeling/ lighting
Zbrush – Texturing
PFTrack – 3D tracking
After Effects – to composite
HDR shop – to capture High Dynamic Range images for 3D lighting/ Refections
Trapcode Particular – for particles
Time lapse video.
Camera: Canon 5d mark II
Lenses: 24-70 2.8L, 70-200 2.8 IS II
Soft: Adobe AE, Adobe Premiere
Music: Moonbeam – About you