The environment friendly clothing is produced of material like bamboo, hemp, organic cotton, organic wool etc. hemp clothing, bamboo clothing and organic cotton clothing is increasingly becoming the first choice of material both for men clothing and women clothing. People who are trying to live a healthy and natural lifestyle are the ones opting for environment friendly clothing. By making a choice and wearing clothes made out of organic material we are also saving the planet and environment surrounding us. Environment friendly clothing is also available in variety of designs and style that suit the need of both men's clothing and women's clothing.
By opting to wear clothes made up of organic material you are keeping all the harmful chemicals like urea, halogens, bromines, formaldehyde etc away from touching your body. So by wearing hemp clothing, bamboo clothing and organic cotton clothing, you are just allowing only natural fabric to come close to your skin. As chemicals are used to grow non-organic material clothes made up of that material might cause some cause of allergies or skin cancer. Hemp clothes, bamboo clothes and organic cotton clothes are ideal for toddlers. Hemp clothes are made up of fiber that is made up of ultimately light weight. It is a very strong and absorbent material. This kind of organic clothing helps in giving us relief from the ultra violet rays. They are also mold resistant.
All these qualities make them a perfect choice to wear outdoors. Not only is this organic material made up of such excellent fiber that makes it so easy for them to be blended with other kind of clothing material to make different kinds of garments for men, women and children. There are any hardly any growth requirements for producing these eco- friendly organic clothing. Hence it's less expensive and cost friendly for farmers as well as for end consumers. Not only this it also requires less water for cultivation. Suppose if a child is wearing clothes made up of non- organic material and wets it then the harmful toxic chemicals may enter their skin through the process of osmosis. So it is advisable to buy clothes made up of organic material. Apart from being good for our skin clothes made up of organic material are very durable and lasts long. Not only clothes but all kinds of stuff like towels, handkerchief, bed sheet, bedspread etc can be made out of organic material.
why not find out more:http://www.likecos.com/
2015年1月25日星期日
This is what my clothing shopaholic addiction was about
When we get a compliment or an admiring stare on the way we look, we feel great. And here is another truth about our addiction: we all have a "female appraiser". A "female appraiser" is the female in our life that we always imagine envying us and complimenting us when we try on new clothes. She is the one we always wear new outfits in front of to get appraisal and compliments about how we look. She is the one who notices every new pair of shoes, every new piece of jewelry, whether our hair looks particularly healthy and attractive that day, and every new item of clothing we are wearing to the minutest degree. She dissects us physically; she is our lifeblood to feeling we exist; by noticing us, envying us and complimenting us; she makes us feel alive.
And we are her female appraiser as well. We notice every new item she wears and we comment about how good she looks as well. We often envy her appearance and new outfits. Our relationship is the mutual symbiotic feeding of our ego envy. Usually our female appraiser is our female mother, sister, friend or coworker who we subconsciously compete and look to get approval from about our appearance. We always try to upstage her in appearance and make her feel envious of us; we always think about whether what we buy will make her envy how we look before we buy it and when she sees a new outfit on us and we feel her envy (of course the ultimate high is when she asks us where we bought it) we have our ultimate addictive fix. We even watch how many people notice us more than her when the two of us walk together in public, to know that we are getting more attention than she is. Yes, it's an "envy/dislike/need of approval dynamic" we have with our female appraiser (or multiple female appraisers) on a complicated physical and emotional level.
When I was a clothing shopaholic, I lived for clothes, they were my life passion. I still love clothes. But I am less in need of the power they give me to be noticed, admired, and envied. The need to shop for clothes and imagine wearing them and getting compliments from women when I wear them has taken less of a hold on me. But there was a time when shopping for clothes was an essential part of my daily life because I lived for the attention and praise those new outfits gave me. I would fantasize as I tried them on in the store and imagine being envied by my female appraiser when I wore them. And once I bought them, wearing them always made me feel special and alive when I got that attention, envy and praise from my "female appraiser". I always needed to wear something new to be noticed and that is why the money was spent; to continually have new clothes to wear so I would continually get compliments and be noticed. When I wore that outfit a second time, it wasn't new anymore and no compliments were given because they'd already been given when I wore it the first time. So that outfit did not serve its purpose any more for my addiction unless I wore it in front of a different female appraiser who never saw it before (sometimes I had 3 or more female appraisers in my life). On the days I wore an outfit that I received no attention about, I actually felt invisible and depressed. Sometimes just thinking about another new outfit I would wear the next day and how good I'd look and how envied I'd be was all I thought about on those depressing days. It was the only thing that kept me going; imaging that outfit in my closet and the power it would give me to be noticed and complimented.. I'd fantasize about the shoes I'd wear with the outfit and how I'd match my eye shadow to it and the admiration I'd be getting. Because I always knew exactly what to buy and wear that would make my female appraiser envious and wish she had my clothes and got the attention I was geting. And what a euphoric high that would give me; even thinking about that happening.
Clothing shopaholics have an odd addiction because when you take away the women you feel competitive with, the addiction loses its hold on you. That's because the addiction is about fantasizing about being envied for how you look in clothes. But take away the female appraiser, and you don't have the envy and you lose the need to fantasize or shop for clothes. Of course, eliminating female appraisers in your life isn't easy. As long as you have a mother or work in a corporate office, or have a female sibling you see, you will have a woman in your life assessing your appearance. Even when babysitting my friend's 10 year old daughter, she assessed my appearance by informing me my pants didn't match my top; "the colors were off" she told me. And here I thought I was free of that kind of appraisal from children and could just "throw on sweats and any old top." After all, why care what a 10 year old girl thinks about how I look when I'm babysitting her? But yes, her comment did bother me, although I stood my ground and refused to change my clothes. Needless to say, she is a budding clothing shopaholic in the making.
Here are some more truths about this secret clothing shopaholic life: I would go into my favorite clothes stores every day to return clothes (which I loved to do because it gave me an excuse to shop again) and always walk out buying something else, usually something I knew I would probably return. Walking into a store filled with clothes and breathing in the smell of new clothes gave me a euphoric high. Trying some new outfit on and imaging my female appraiser noticing it and complimenting me on it and asking me where I bought it; just imaging that happening as I tried on the clothes in a store gave me an adrenaline rush. This is what my clothing shopaholic addiction was about. Most women who are clothing shopaholics are clueless about what the core of their addiction is about. They think it's about an addictive need to spend money, but it really isn't about that. Yes, you do need to spend money to buy new clothes to feed your "attention fix", because without buying something new, you don't wear something new; and without wearing something new, you don't get your "fix". And you have to go to a store to try on something so you can experience the fantasy in your head of getting the attention, which is the first stage of the addiction.
So this is why spending money becomes a problem. And mistakenly becomes what everyone thinks the addiction is about: the inability to stop the urge to spend money on clothes. But teaching someone to resist spending money does not curb or cure the addiction. The only way to curb or "cure" it is to remove the need for a "female appraiser" in your life. But that is another article for another time. The money spent by clothing shopaholics becomes the casualty of the addiction, but it is not the addictive need to spend money that causes the addiction. I would venture to say that alcoholics get an addictive fix sitting in a bar and breathing in the smell of alcohol and seeing other men who are alcoholics around them. Yes, the need to drink alcohol plays a role in the alcoholic's addiction, but so does the need to be in the environment. It's the same with clothes shopping addicts, we need to be around clothes, smell the smells, and try on clothes. It is a comforting experience that calms our nerves and gives us an inner peace. But, why? It has taken me a very long time to understand my addiction to buying clothes; why I shop for clothes and why I need the attention, flattery and criticism about my appearance. I realize it all started when I was a child growing up in my mother's clothing shopaholic world. So let me share my childhood story with you:
I was born a beautiful little girl full of life and love. I received a tremendous amount of attention from my grandparents, father, aunts and cousins. It seemed as if everyone wanted to be with me, hold me, walk with me and give me endless praise about how cute I was. Well, almost everyone. My mother envied the praise and attention I received. She found it difficult to praise me or give me physical affection. She rarely stayed in the same room with me unless she had to tend to me needs. This went by unnoticed by others, because my mother did interact with me on the surface; she picked me up; fed me; dressed me; bathed me; she did all those "interactive" things a mother has to do to raise her daughter. But there was one very important thing she did not do and that was to LOVE ME UNCONDITIONALLY.
She never hugged or kissed me, she never told me how much she loved me, and she never expressed true appreciation of anything about me to me. Yes, she told others what she appreciated about me, but she could never say those words to me. My mother was unable to give me the emotional connection of unconditional love because she did not feel good about herself as a person. She envied me for the attention and love I received. She envied me for having so many qualities she felt she didn't have, because her own mother raised her with the same kind or resentment and envy. She found it very difficult to be in the same room with me, or to have a picture taken with me, especially when I got attention, just as her mother had found it difficult to do the those things with her.
Learn more about this addiction http://www.lzsshop.com/
And we are her female appraiser as well. We notice every new item she wears and we comment about how good she looks as well. We often envy her appearance and new outfits. Our relationship is the mutual symbiotic feeding of our ego envy. Usually our female appraiser is our female mother, sister, friend or coworker who we subconsciously compete and look to get approval from about our appearance. We always try to upstage her in appearance and make her feel envious of us; we always think about whether what we buy will make her envy how we look before we buy it and when she sees a new outfit on us and we feel her envy (of course the ultimate high is when she asks us where we bought it) we have our ultimate addictive fix. We even watch how many people notice us more than her when the two of us walk together in public, to know that we are getting more attention than she is. Yes, it's an "envy/dislike/need of approval dynamic" we have with our female appraiser (or multiple female appraisers) on a complicated physical and emotional level.
When I was a clothing shopaholic, I lived for clothes, they were my life passion. I still love clothes. But I am less in need of the power they give me to be noticed, admired, and envied. The need to shop for clothes and imagine wearing them and getting compliments from women when I wear them has taken less of a hold on me. But there was a time when shopping for clothes was an essential part of my daily life because I lived for the attention and praise those new outfits gave me. I would fantasize as I tried them on in the store and imagine being envied by my female appraiser when I wore them. And once I bought them, wearing them always made me feel special and alive when I got that attention, envy and praise from my "female appraiser". I always needed to wear something new to be noticed and that is why the money was spent; to continually have new clothes to wear so I would continually get compliments and be noticed. When I wore that outfit a second time, it wasn't new anymore and no compliments were given because they'd already been given when I wore it the first time. So that outfit did not serve its purpose any more for my addiction unless I wore it in front of a different female appraiser who never saw it before (sometimes I had 3 or more female appraisers in my life). On the days I wore an outfit that I received no attention about, I actually felt invisible and depressed. Sometimes just thinking about another new outfit I would wear the next day and how good I'd look and how envied I'd be was all I thought about on those depressing days. It was the only thing that kept me going; imaging that outfit in my closet and the power it would give me to be noticed and complimented.. I'd fantasize about the shoes I'd wear with the outfit and how I'd match my eye shadow to it and the admiration I'd be getting. Because I always knew exactly what to buy and wear that would make my female appraiser envious and wish she had my clothes and got the attention I was geting. And what a euphoric high that would give me; even thinking about that happening.
Clothing shopaholics have an odd addiction because when you take away the women you feel competitive with, the addiction loses its hold on you. That's because the addiction is about fantasizing about being envied for how you look in clothes. But take away the female appraiser, and you don't have the envy and you lose the need to fantasize or shop for clothes. Of course, eliminating female appraisers in your life isn't easy. As long as you have a mother or work in a corporate office, or have a female sibling you see, you will have a woman in your life assessing your appearance. Even when babysitting my friend's 10 year old daughter, she assessed my appearance by informing me my pants didn't match my top; "the colors were off" she told me. And here I thought I was free of that kind of appraisal from children and could just "throw on sweats and any old top." After all, why care what a 10 year old girl thinks about how I look when I'm babysitting her? But yes, her comment did bother me, although I stood my ground and refused to change my clothes. Needless to say, she is a budding clothing shopaholic in the making.
Here are some more truths about this secret clothing shopaholic life: I would go into my favorite clothes stores every day to return clothes (which I loved to do because it gave me an excuse to shop again) and always walk out buying something else, usually something I knew I would probably return. Walking into a store filled with clothes and breathing in the smell of new clothes gave me a euphoric high. Trying some new outfit on and imaging my female appraiser noticing it and complimenting me on it and asking me where I bought it; just imaging that happening as I tried on the clothes in a store gave me an adrenaline rush. This is what my clothing shopaholic addiction was about. Most women who are clothing shopaholics are clueless about what the core of their addiction is about. They think it's about an addictive need to spend money, but it really isn't about that. Yes, you do need to spend money to buy new clothes to feed your "attention fix", because without buying something new, you don't wear something new; and without wearing something new, you don't get your "fix". And you have to go to a store to try on something so you can experience the fantasy in your head of getting the attention, which is the first stage of the addiction.
So this is why spending money becomes a problem. And mistakenly becomes what everyone thinks the addiction is about: the inability to stop the urge to spend money on clothes. But teaching someone to resist spending money does not curb or cure the addiction. The only way to curb or "cure" it is to remove the need for a "female appraiser" in your life. But that is another article for another time. The money spent by clothing shopaholics becomes the casualty of the addiction, but it is not the addictive need to spend money that causes the addiction. I would venture to say that alcoholics get an addictive fix sitting in a bar and breathing in the smell of alcohol and seeing other men who are alcoholics around them. Yes, the need to drink alcohol plays a role in the alcoholic's addiction, but so does the need to be in the environment. It's the same with clothes shopping addicts, we need to be around clothes, smell the smells, and try on clothes. It is a comforting experience that calms our nerves and gives us an inner peace. But, why? It has taken me a very long time to understand my addiction to buying clothes; why I shop for clothes and why I need the attention, flattery and criticism about my appearance. I realize it all started when I was a child growing up in my mother's clothing shopaholic world. So let me share my childhood story with you:
I was born a beautiful little girl full of life and love. I received a tremendous amount of attention from my grandparents, father, aunts and cousins. It seemed as if everyone wanted to be with me, hold me, walk with me and give me endless praise about how cute I was. Well, almost everyone. My mother envied the praise and attention I received. She found it difficult to praise me or give me physical affection. She rarely stayed in the same room with me unless she had to tend to me needs. This went by unnoticed by others, because my mother did interact with me on the surface; she picked me up; fed me; dressed me; bathed me; she did all those "interactive" things a mother has to do to raise her daughter. But there was one very important thing she did not do and that was to LOVE ME UNCONDITIONALLY.
She never hugged or kissed me, she never told me how much she loved me, and she never expressed true appreciation of anything about me to me. Yes, she told others what she appreciated about me, but she could never say those words to me. My mother was unable to give me the emotional connection of unconditional love because she did not feel good about herself as a person. She envied me for the attention and love I received. She envied me for having so many qualities she felt she didn't have, because her own mother raised her with the same kind or resentment and envy. She found it very difficult to be in the same room with me, or to have a picture taken with me, especially when I got attention, just as her mother had found it difficult to do the those things with her.
Learn more about this addiction http://www.lzsshop.com/
clothing designs and international and national rules and regulations
The clothing industry is a major manufacturing sector of Hong Kong. Its gross output is one of the highest among all manufacturing sectors, amounting to HK$35.9 billion in 2003. It is the largest manufacturing employer in Hong Kong, with 1,673 establishments hiring 28,752 workers as of June 2005. It is also the leading earner in terms of domestic exports, taking up 40% of the total in the first 11 months of 2005.
Hong Kong's geographic boundary has never constrained the development of the forward-looking clothing industry. The majority of clothing manufacturers have set up offshore production facilities in an attempt to reduce operation costs. Relocation of production facilities offshore has however resulted in a steady decline in the number of clothing manufacturers in Hong Kong.
Hong Kong is not only a leading production centre but also a hub for clothing sourcing globally. Companies doing garment trade in Hong Kong are experienced in fabrics procurement, sales and marketing, quality control, logistic arrangements, clothing designs and international and national rules and regulations. The professionalism that they command and the combined services offered are not easily matched elsewhere. With a total of 15,190 establishments hiring 95,889 workers, they form the largest group involved in import-export trade in Hong Kong.
Performance of Hong Kong's Exports of Clothing
Hong Kong's total exports of clothing rose year-on-year by 9% in the first 11 months of 2005. While Hong Kong's re-exports of clothing rose by 20%, domestic exports fell by 14%. The contrasting performance of Hong Kong's re-exports and domestic exports was basically ascribed to the increasing relocation of garment manufacturing to the Chinese mainland, resulting from the removal of quotas under WTO's Agreement on Textiles and Clothing (ATC). But the declining trend of domestic exports has been reversed somewhat in recent months, due to the re-imposition of quantitative restraints on mainland-made textiles and clothing by the US and EU.
Retail sales in the US held firm in the first 11 months of 2005, rising by nearly 6% from the same period in the previous year. In the first 11 months of 2005, Hong Kong's clothing exports to the US rose year-on-year by 11%.
In the first 11 months of 2005, Hong Kong's total clothing exports to the EU surged year-on-year by 18%. Clothing exports to major EU markets like France, Germany and Italy recorded growth rates in excess of 20%.
On the other hand, Hong Kong's clothing exports to Japan levelled off in the first 11 months of 2005 partly due to the trend of direct shipment. On the back of the rising income however, Japanese consumers tend to resume their spending spree on premium clothing items. Meanwhile, Hong Kong's clothing exports to the Chinese mainland dropped by 11% in the first 11 months of 2005, compared with the same period last year.
Product-wise, Hong Kong's exports of woven wear rose by 12% in the first 11 months of 2005. While woven wear for women/girls grew by 13%, those for men/boys recorded a growth of 8% from the same period in the previous year. Knitted wear grew by 2%, with women/girls and men/boys rising by 1% and 6% respectively. While clothing accessories declined by 3%, other apparel articles, for their part, increased by 13%.
Learn more about this addiction www.ccnns.com
Hong Kong's geographic boundary has never constrained the development of the forward-looking clothing industry. The majority of clothing manufacturers have set up offshore production facilities in an attempt to reduce operation costs. Relocation of production facilities offshore has however resulted in a steady decline in the number of clothing manufacturers in Hong Kong.
Hong Kong is not only a leading production centre but also a hub for clothing sourcing globally. Companies doing garment trade in Hong Kong are experienced in fabrics procurement, sales and marketing, quality control, logistic arrangements, clothing designs and international and national rules and regulations. The professionalism that they command and the combined services offered are not easily matched elsewhere. With a total of 15,190 establishments hiring 95,889 workers, they form the largest group involved in import-export trade in Hong Kong.
Performance of Hong Kong's Exports of Clothing
Hong Kong's total exports of clothing rose year-on-year by 9% in the first 11 months of 2005. While Hong Kong's re-exports of clothing rose by 20%, domestic exports fell by 14%. The contrasting performance of Hong Kong's re-exports and domestic exports was basically ascribed to the increasing relocation of garment manufacturing to the Chinese mainland, resulting from the removal of quotas under WTO's Agreement on Textiles and Clothing (ATC). But the declining trend of domestic exports has been reversed somewhat in recent months, due to the re-imposition of quantitative restraints on mainland-made textiles and clothing by the US and EU.
Retail sales in the US held firm in the first 11 months of 2005, rising by nearly 6% from the same period in the previous year. In the first 11 months of 2005, Hong Kong's clothing exports to the US rose year-on-year by 11%.
In the first 11 months of 2005, Hong Kong's total clothing exports to the EU surged year-on-year by 18%. Clothing exports to major EU markets like France, Germany and Italy recorded growth rates in excess of 20%.
On the other hand, Hong Kong's clothing exports to Japan levelled off in the first 11 months of 2005 partly due to the trend of direct shipment. On the back of the rising income however, Japanese consumers tend to resume their spending spree on premium clothing items. Meanwhile, Hong Kong's clothing exports to the Chinese mainland dropped by 11% in the first 11 months of 2005, compared with the same period last year.
Product-wise, Hong Kong's exports of woven wear rose by 12% in the first 11 months of 2005. While woven wear for women/girls grew by 13%, those for men/boys recorded a growth of 8% from the same period in the previous year. Knitted wear grew by 2%, with women/girls and men/boys rising by 1% and 6% respectively. While clothing accessories declined by 3%, other apparel articles, for their part, increased by 13%.
Learn more about this addiction www.ccnns.com
2015年1月23日星期五
How a queer black filmmaker made virtual reality a reality at Sundance
When Shari Frilot first kicked off New Frontier, an exhibit that
pushes the boundaries of traditional storytelling through art and
technology, at the Sundance Film Festival back in 2007, the attending
press didn't quite know what to make of it or the works on display.
"People came and they had no idea what we were doing, but they thought it was really cool," says Frilot of that inaugural exhibit. "And people were calling it 'art at Sundance.' So we had to fight that in the press. We're decidedly not doing an art show."
New Frontier may not be an art show housed within the grander show that is Sundance in Park City, Utah, but it certainly welcomes the convergence of that world with those of technology and cinema. The exhibit, now in its ninth year, even attracts the participation of bold-faced names. Joseph Gordon-Levitt and James Franco are just two examples of the high-profile Hollywood talent Frilot, the exhibit's curator, says have sought out New Frontier as a venue for their work. "[2010] was a big corner turn where we started to see major players in the film world looking to New Frontier for opportunities. That was a big shift. It brought the profile that they bring to it," she says.
This year, although Hollywood is once again paying attention and participating in New Frontier (see: Fox Searchlight's Wild - the Experience with Reese Witherspoon and Laura Dern), it's not the star attraction. Virtual reality is. Eleven cinematic works, which run the gamut from the immersive journalism of Nonny de la Peña's Project Syria to the sensory simulation of bird flight in Birdly to the point-of-view and gender shifts of Perspective, will all be on display and freely open to the public. And all will feature a VR twist.
Inside the New Frontier exhibit in 2009.
"This year's show is the beginning stages," says Frilot. "We're going
to see the very beginning engagement of storytellers from all different
walks of life -- from media-science labs to straight-up filmmakers to
journalists to performance artists [to] installation artists. You'll see
nine different approaches to telling the story with [VR]. It just
really speaks to what may really lie in the future for this."
You can thank the rise of YouTube and the likes of artists Miranda July (Me and You and Everyone We Know) and Matthew Barney (The Cremaster Cycle) and the works they were producing in the early 2000s for inspiring Frilot to create New Frontier. "We started to see a lot of film coming out of the art world into Sundance that was just ready for the close-up," she says. "That's where New Frontier came from. These two important things were happening that were so relevant to the festival ... this major advance in moving-image culture on the internet and what was happening in the art world."
Shari Frilot poses with Joseph Gordon-Levitt at the 2014 Sundance Film Festival.
Frilot eventually moved on from Mix to Outfest, where she created
Platinum, a festival section dedicated to highlighting experimental
work. And then within that came a "racy" multimedia performance art
subsection called Platinum Oasis in 2000. It was then that Sundance Film
Festival Director John Cooper, whom she'd worked with at Outfest,
tasked her with creating something similarly inventive in Park City.
"Cooper was like, 'How can we bring Platinum to Sundance?'" Frilot says
of New Frontier's beginnings.
"I was also very convinced that if we bring [together] these three siloed areas [film, tech and art], then something larger than the sum of its parts would come out of it. VR culminates that dream," Frilot says of this year's lineup.
Of New Frontier's early involvement with Oculus, Frilot explains, "My relationship with Oculus is from the cradle. Palmer was an intern when he was at New Frontier. There was no Oculus. It was just what Nonny was doing and this incredibly talented teenager and what he had made. And it was me tracking an artist that had been at a festival. I had no idea two years later it would be a billion-dollar company. I really didn't know that. I just believed in the technology."
Nonny de la Peña demos her virtual reality project at New Frontier in 2012.
You could call it an extremely providential case of "right place,
right time," but Frilot insists that it's merely a product of New
Frontier's pioneering spirit. That's the nature of her show and her
accidental curation. "It's more of a subjective process," she explains.
"It's different from art curation for a museum. [It] doesn't start with a
show that I'd like to put together. I come up with a curatorial
statement ... after I see the body, after I get down to the shortlist."
Given Frilot's organic approach to curating New Frontier and its progressive foundation, it's understandable that she's hesitant to describe the exhibit as a showcase for virtual reality. Even Frilot's curatorial statement for this year's show skirts around that particular wording, opting instead to emphasize "the new forms of immersive media." Still, VR is undeniably the main thrust of the exhibit, a fact best evidenced by Google's participation in giving away 8,000 units of Cardboard.
Cardboard, Google's DIY approach to virtual reality.
"It really makes VR super accessible and DIY. And I love the DIY
aspect of it," Frilot says of her decision to give away Cardboard. "It's
really in line with Sundance and a lot of filmmakers and how they make
their films. ... I'm interested in other classes being able to touch
this stuff."
For all its accessibility, Frilot's aware Google's VR tech can still be somewhat intimidating to the uninitiated, which is why New Frontier will be holding daily workshops to get folks acquainted with it. And in the evenings, Google plans to host happy hour workshops where attendees can gather to learn how to assemble and use Cardboard, as well as engage in conversations about their VR experiences. That's Frilot's hope, anyway.
"As an exhibitor," she says, "I feel responsible to find ways to present this VR, which can be very isolating, in a social way; in a way that then encourages people to come out of the goggles and talk to each other. New Frontier has always been about that."
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"People came and they had no idea what we were doing, but they thought it was really cool," says Frilot of that inaugural exhibit. "And people were calling it 'art at Sundance.' So we had to fight that in the press. We're decidedly not doing an art show."
New Frontier may not be an art show housed within the grander show that is Sundance in Park City, Utah, but it certainly welcomes the convergence of that world with those of technology and cinema. The exhibit, now in its ninth year, even attracts the participation of bold-faced names. Joseph Gordon-Levitt and James Franco are just two examples of the high-profile Hollywood talent Frilot, the exhibit's curator, says have sought out New Frontier as a venue for their work. "[2010] was a big corner turn where we started to see major players in the film world looking to New Frontier for opportunities. That was a big shift. It brought the profile that they bring to it," she says.
This year, although Hollywood is once again paying attention and participating in New Frontier (see: Fox Searchlight's Wild - the Experience with Reese Witherspoon and Laura Dern), it's not the star attraction. Virtual reality is. Eleven cinematic works, which run the gamut from the immersive journalism of Nonny de la Peña's Project Syria to the sensory simulation of bird flight in Birdly to the point-of-view and gender shifts of Perspective, will all be on display and freely open to the public. And all will feature a VR twist.
You can thank the rise of YouTube and the likes of artists Miranda July (Me and You and Everyone We Know) and Matthew Barney (The Cremaster Cycle) and the works they were producing in the early 2000s for inspiring Frilot to create New Frontier. "We started to see a lot of film coming out of the art world into Sundance that was just ready for the close-up," she says. "That's where New Frontier came from. These two important things were happening that were so relevant to the festival ... this major advance in moving-image culture on the internet and what was happening in the art world."
"People were calling it 'art at Sundance.' So we had to fight that in the press. We're decidedly not doing an art show."Beyond seizing upon the zeitgeist, Frilot's background as a filmmaker and, in particular, the frustration she experienced when making the festival rounds with her first film also contributed to the genesis of New Frontier. Seeking to break her work out of the "black gay section" where it would inevitably wind up and foster a larger conversation around it, Frilot decided to organize a festival of her own called Mix. And it was there that she began to experiment with the inclusion of technology in festival work. In 1994, Frilot held Mix's first digital showcase, which featured CD-ROM works. "It is a direct line from that work to what I'm doing at New Frontier," she says.
"I was also very convinced that if we bring [together] these three siloed areas [film, tech and art], then something larger than the sum of its parts would come out of it. VR culminates that dream," Frilot says of this year's lineup.
"My relationship with Oculus is from the cradle. Palmer was an intern when he was at New Frontier. There was no Oculus."New Frontier is also somewhat of an incubator for new technologies. Just three years ago, in fact, a plucky, teenaged Sundance intern teamed up with a journalist (de la Peña) to tell her stories using prototype equipment. That intern was none other than Palmer Luckey -- founder of Oculus, the billion-dollar virtual reality startup acquired by Facebook last year.
Of New Frontier's early involvement with Oculus, Frilot explains, "My relationship with Oculus is from the cradle. Palmer was an intern when he was at New Frontier. There was no Oculus. It was just what Nonny was doing and this incredibly talented teenager and what he had made. And it was me tracking an artist that had been at a festival. I had no idea two years later it would be a billion-dollar company. I really didn't know that. I just believed in the technology."
"I feel responsible to find ways to present this VR which can be very isolating a social way; in a way that then encourages people to come out of the goggles and talk to each other."What's more, submissions to exhibit at New Frontier work differently from the open-call process of the greater Sundance Film Festival. "It is more of a solicitation process," she says. Frilot actively researches and networks at different events and festivals, and then requests works from artists she's interested in. And, occasionally, those artists may even gain entry into Sundance's New Frontier creative workshop or "Story Lab," as was the case for this year's 1979 Revolution, a documentary-cum-videogame about the Iranian Revolution created by former Rockstar developers.
Given Frilot's organic approach to curating New Frontier and its progressive foundation, it's understandable that she's hesitant to describe the exhibit as a showcase for virtual reality. Even Frilot's curatorial statement for this year's show skirts around that particular wording, opting instead to emphasize "the new forms of immersive media." Still, VR is undeniably the main thrust of the exhibit, a fact best evidenced by Google's participation in giving away 8,000 units of Cardboard.
For all its accessibility, Frilot's aware Google's VR tech can still be somewhat intimidating to the uninitiated, which is why New Frontier will be holding daily workshops to get folks acquainted with it. And in the evenings, Google plans to host happy hour workshops where attendees can gather to learn how to assemble and use Cardboard, as well as engage in conversations about their VR experiences. That's Frilot's hope, anyway.
"As an exhibitor," she says, "I feel responsible to find ways to present this VR, which can be very isolating, in a social way; in a way that then encourages people to come out of the goggles and talk to each other. New Frontier has always been about that."
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'X-Men' casts 'Game of Thrones' star Sophie Turner
Winter is coming...to the X-Men franchise.
Director Bryan Singer announced on Twitter Thursday that the latest installment in the X-Men movies, X-Men: Apocalypse, has cast young actors in three familiar roles, including a familiar face from HBO's Game of Thrones.
Singer revealed that Alexandra Shipp will play a young Storm, Tye Sheridan will play young Cyclops and Thrones actress Sophie Turner will play young Jean Grey. All three of the characters have appeared in other X-Men movies, played by Halle Berry, James Marsden and Famke Janssen, respectively.
Shipp appeared as the titular character in the recent Lifetime movie Aaliyah: The Princess of R&B, and Sheridan has appeared in several films including The Tree of Life and Mud. Fans are especially excited about Turner, who is best known for her role as Sansa Star on Thrones. The actress tweeted a very excited reaction shortly after Singer made the announcement.
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Director Bryan Singer announced on Twitter Thursday that the latest installment in the X-Men movies, X-Men: Apocalypse, has cast young actors in three familiar roles, including a familiar face from HBO's Game of Thrones.
Shipp appeared as the titular character in the recent Lifetime movie Aaliyah: The Princess of R&B, and Sheridan has appeared in several films including The Tree of Life and Mud. Fans are especially excited about Turner, who is best known for her role as Sansa Star on Thrones. The actress tweeted a very excited reaction shortly after Singer made the announcement.
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