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Julianna's Tea Party -- "Rainbow"

• Vimeo 3:24

This is the video we played during Julianna's Tea Party celebration. My favorite part is when she comes home from the hospital and says "It'...

This is the video we played during Julianna's Tea Party celebration. My favorite part is when she comes home from the hospital and says "It's a beautiful party. I love it." It was a glimpse of heaven.   Less

IN JACKSON HEIGHTS Official Trailer

• Vimeo 2:17

IN JACKSON HEIGHTS, Frederick Wiseman's 40th documentary, premieres at Film Forum in New York on November 4.nnFor press materials or for dow...

IN JACKSON HEIGHTS, Frederick Wiseman's 40th documentary, premieres at Film Forum in New York on November 4.nnFor press materials or for downloading options for this trailer, please email info@zipporah.com.   Less

2,500 Trick-or-Treaters Swarm the Haunted Victorian Mansions in L.A.

• Vimeo 2:16

On Halloween, masses of serious trick-or-treat crowds headed to Angelino Heights next to Echo Park Lake, L.A's rare, preserved 1800s-era nei...

On Halloween, masses of serious trick-or-treat crowds headed to Angelino Heights next to Echo Park Lake, L.A's rare, preserved 1800s-era neighborhood of spooky Victorian mansions, and now the city's worst-kept secret. In a 20-year tradition, owners go all-out to scare the 2,000 to 3,000 trick-or-treaters who stream to their doors from across L.A.   Less

Julianna Cox 2014 Animation Reel

• Vimeo 2:14

Heights 4K

• Vimeo 2:51

Timelapse collection of Italian Central Alps. Locations are mainly around Lecco and ValtellinannEquipment used:nNikon D800nNikkor 16-35mmnNi...

Timelapse collection of Italian Central Alps. Locations are mainly around Lecco and ValtellinannEquipment used:nNikon D800nNikkor 16-35mmnNikkor 50mm f1,4nSigma 70-300nLee Filters (0,9 Hard Grad - 0,9 Soft grad - Orange sunset)nKonova motorized Slider with 1:1000 ms motornnnAll footage is available for licensing   Less

|| TANGERINE ||

• Vimeo 2:18

Audio/Visual presents another piece for your viewing pleasure. In this gloomy world, sometimes your mind can become a noxious environment.....

Audio/Visual presents another piece for your viewing pleasure. In this gloomy world, sometimes your mind can become a noxious environment... step outside of it for just a second and breathe that fresh air.nnShot in Uptown Manhattan.nnAudio -- "Tangerine" by Katakresis (www.katakresis.com)nVisual -- Anthony Sylvester (Director/Editor) + Ant DeRose (DP) + Giancarlo Tobal (PA)nnStarring - Wes Hager   Less

Stir Kinetic Desk - How It Works.mp4

• Vimeo 1:24

A quick glance at the Stir Kinetic Desk M1 and F1. Both desks are available at http://www.stirworks.com today!  

"Office buildings tend to be very boring" - Richard Rogers

• Vimeo 3:21

See more architecture and design movies at http://www.dezeen.com/moviesnnIn our next movie focussing on the work of Richard Rogers, the Brit...

See more architecture and design movies at http://www.dezeen.com/moviesnnIn our next movie focussing on the work of Richard Rogers, the British architect talks exclusively to Dezeen about the challenges of designing an interesting office building and explains how the new Leadenhall building in London, dubbed "the Cheesegrater", got its distinctive angular shape.nnThe Leadenhall building is a new 225-metre skyscraper by Rogers Stirk Harbour + Partners in the City of London, which topped out in June and is due to be completed in 2014.nnPositioned opposite Richard Rogers' famous Lloyds building, the 50-storey office building features a glazed body that is tapered on one side - hence it's popular nickname.nnOffice buildings, Rogers admits, "tend to be very boring". The key to creating the Leadenhall building's distinctive form, he says, was creatively working with the constraints of the site.nn"One of the arts of architecture is to use constraints, turn them upside down and see whether they can help you to design the building," he explains.nn"The main constraint on Leadenhall was the view to St Paul's. London is unique in being partly controlled by views; you have to leave certain views open to St Paul's and we were on one of those views. So we made use of this and we cut it back at an angle and that gave us that prominent section and profile, [which can be seen] from all over London."nnThe Leadenhall building's criss-crossing steel frame is displayed prominently through the external glazing and Rogers claims that this has an important role to play in breaking the building up and giving it scale. nn"The building itself expresses its system of construction because because it’s one of the things in which we get scale," he says. "Scale is critical. Height and length have limited use. You can make a building immensely large and overbearing, which is basically a single storey, or you can make a building which is very light and it's got fifty storeys. How you break it down is critical."nnRogers claims that many of the ideas that informed his earlier buildings, such as placing the mechanical services on the outside of the building, are also present in the Leadenhall building. But the nature of changing technology means that they are implemented in different ways.nn"The elements which we’ve got to know well we're using here," he says, pointing out the banks of elevators located on the back of the building. "We are using a lot of flexibility obviously. So we're using that but in a way that, more or less forty years after Pompidou, is very much machine-made."nnHe adds: "We thought Lloyd’s was the absolute ultimate in the art of technology. When I look at it now, it’s handmade practically. We had [a few] pieces [built] off-site. Leadenhall is all built off-site."nnRogers says he enjoys the contrasts between the two buildings, that were built nearly 20 years apart, but in such close proximity.nn"It’s very exciting to see the dialogue between these two, and actually, I think it’s really exciting to see the dialogue between Lloyds of London, Leadenhall and the dome of St Paul's in the background, of a totally different period," he says.nn"To me that’s what architecture is all about. It’s not about fitting in, it’s setting up these dialogues. The enjoyment of St Paul's was that it was seen against a very low and rather poor medieval background. That was a flourish. It's exactly the same with any form of architecture. It’s a dialogue, it’s a beauty that comes from contrast."   Less

Write a Good Song, Chris

• Vimeo 1:12

My pal Chris asked me to film some random footage so he could write a song to it. It's hard editing a video with no music, but this is what ...

My pal Chris asked me to film some random footage so he could write a song to it. It's hard editing a video with no music, but this is what I came up with. I think the song is better than the video, and I had to steal a few clips from the footage from "Heights," but it's an okay thing that I had fun making.   Less

A Glancing Blow, an excerpt, Richard Newton, 1979

• Vimeo 0:48

An invitation was sent out with date, maps, and times for each location. There was no announcement to the general public. No permissions o...

An invitation was sent out with date, maps, and times for each location. There was no announcement to the general public. No permissions or special arrangements were requested or granted from city or state authorities. Spectators arrived and gathered at nearby corners. Traffic was moving along at a normal pace. Two cars, a 1963 white Dodge Dart GT, and a 1969 dark blue Dodge Polara station wagon arrived from opposite directions. As the 2 cars approached each other, the drivers moved in close and bumped, banged and scrapped their way along the bodies of the two Dodges. The drivers immediately turned the cars around and repeated the action – 5 sharp glances on the Whittier Blvd. Bridge in Boyle Heights, East Los Angeles, and 6 solid blows where Cañon meets Beverly Drive in Beverly Hills.   Less

Urb-Garden: An Urban Herb Gardening Solution

• Vimeo 1:04

Designed for the urban herb gardener with back problems, Urb-Garden seeks to be a beautiful, sculptural piece that defines a small space, hi...

Designed for the urban herb gardener with back problems, Urb-Garden seeks to be a beautiful, sculptural piece that defines a small space, highlighting the life of the plant as well as accentuating the space as a whole. Designed to ergonomically fit a wide range of users at the ideal working height, Urb-Garden makes gardening less strenuous. Made from fibrous concrete, laminated Ash, and spun aluminium. nnVictoria University of Wellington BDI Program: Industrial Design 212   Less

The Traverse High Alps Challenge

• Vimeo 2:57

Leukaemia & Lymphoma Research - The Traverse High Alps Challenge nnDuring July 2013 we had the pleasure of filming an absolutely amazing eve...

Leukaemia & Lymphoma Research - The Traverse High Alps Challenge nnDuring July 2013 we had the pleasure of filming an absolutely amazing event in the French Alps. We followed a crazy group of cyclists as they rode from Geneva to Nice across some of the most iconic mountain climbs the alps has to offer. In total the distance climbed was almost one and a half time the height of Everest, and it was all in support of the wonderful charity - Leukaemia & Lymphoma Research, a cause very close to my heart. nnFor more info on the event visit - http://www.traversearavis.com/product/high-alps-challenge-2014nnThanks to Matt Morton for composing the soundtrack and Chris MacDonald for the voice-over.   Less

4k Blackmagic Production Camera - Brighton

• Vimeo 3:17

First test with the 4k Blackmagic Production Camera in Brighton.nThanks to Guy Thatcher & co (hireacamera.com) for the use of the Camera, Le...

First test with the 4k Blackmagic Production Camera in Brighton.nThanks to Guy Thatcher & co (hireacamera.com) for the use of the Camera, Lenses and lovely afternoon out. I do love Sunday shooting.nnShot using the Zeiss Otus 55/1.4 & the Canon 70-200mm IS II.n‎Alphatron EVF, Tiffen Variable ND Filter.nnLightly graded with Film Convert.nnPart 2 shot comparison with the Canon 1DC coming soon.nnExtremely bright today in the midday sun, Tiffen Variable ND Filter struggled to keep lenses above f2.8. I sometimes even nearly hit focus! Would have shot for longer with some varied scenes but battery solution did not last. But it was enjoyable to shoot with. Well as long as you want to use an EVF with waveforms etc.nn4K ProRes HQ edited natively in Adobe Premiere Pro CC. Transcoded to HD, 1920x1080 ProRes HQ version available to download from Vimeo.nnnRichard Burton reads the beautiful 'Wessex Heights' by Thomas HardynnnWessex Heights, December 1896nThere are some heights in Wessex, shaped as if by a kindly hand nFor thinking, dreaming, dying on, and at crises when I stand,nSay, on Ingpen Beacon* eastward, or on Wylls-Neck* westwardly, nI seem where I was before my birth, and after death may be.nnIn the lowlands I have no comrade, not even the lone man's friend -nHer who suffereth long and is kind; accepts what he is too weak to mend: nDown there they are dubious and askance; there nobody thinks as I,nBut mind-chains do not clank where one's next neighbour is the sky.nnIn the towns I am tracked by phantoms having weird detective ways - nShadows of beings who fellowed with myself of earlier days:nThey hang about at places, and they say harsh heavy things -nMen with a wintry sneer, and women with tart disparagings.**nnDown there I seem to be false to myself, my simple self that was, nAnd is not now, and I see him watching, wondering what crass cause nCan have merged him into such a strange continuator*** as this, nWho yet has something in common with himself, my chrysalis. ****nnI cannot go to the great grey Plain; there's a figure against the moon, nNobody sees it but I, and it makes my breast beat out of tune;nI cannot go to the tall-spired town, being barred by the forms now passed nFor everybody but me, in whose long vision they stand there fast.nnThere's a ghost at Yell'ham Bottom chiding loud at the fall of the night,nThere's a ghost in Froom-side Vale, thin lipped and vague, in a shroud of white, nThere is one in the railway-train whenever I do not want it near,nI see its profile against the pane, saying what I would not hear.nnAs for one rare fair woman, I am now but a thought of hers,nI enter her mind and another thought succeeds me that she prefers; nYet my love for her in its fulness she herself even did not know; nWell, time cures hearts of tenderness, and now I can let her go.nnSo I am found on Ingpen Beacon, or on Wylls-Neck to the west,nOr else on homely Bulbarrow,* or little Pilsdon Crest,*nWhere men have never cared to haunt, nor women have walked with me, nAnd ghosts then keep their distance; and I know some liberty.nnDecember 1896   Less

Noisemaker Media Live Event & Concert Sizzle Reel v1.0

• Vimeo 1:52

Noisemaker Media's Event & Concert Sizzle Reel features dynamic & engaging coverage of music festivals and live shows. This reel displays a...

Noisemaker Media's Event & Concert Sizzle Reel features dynamic & engaging coverage of music festivals and live shows. This reel displays a diverse catalog of content, encompassing genres such as Hip Hop, EDM (electronic dance music), and many more. Noisemaker Media's capacity to consistently produce a level of broadcast-quality production should not be overlooked, especially during a pivotal time in the creative industry where the influence of technological advancements in digital cinema and the accessibility of professional-grade equipment to the prosumer class has pushed the artistic boundaries of filmmaking to new heights but has also created a parity between the wack & talented. nnDespite navigating a highly-competitive field, Noisemaker Media has stayed the course and continued to evolve as a creative agency that is capable of producing a prolific body of work with a focused vision on technical aesthetics & professional integrity. To say that this reel is impressive would be an understatement. It is truly a testament to Noisemaker Media's vision of excellence.nnNoisemaker Media has filmed for & documented Pop artists such as Janet Jackson, Keri Hilson, Estelle & Mindless Behavior; legendary Hip Hop artists such as Afrika Bambaataa, KRS-One, Biz Markie, Kid Capri, Grandwizard Theodore, The Roots, Busta Rhymes, Pete Rock, Pharoahe Monch, A Tribe Called Quest, Masta Ace, Mos Def, Talib Kweli & Sadat X; independent Hip Hop artists such as Immortal Technique, Hasan Salaam, Homeboy Sandman, Maya Azucena, Eternia & Kalae All Day; and electronic dance music DJ's such as Tiesto, Louie Vega, David Morales, Tony Humphries, Sander Van Doorn, Sander Kleinenberg, Paul Oakenfold, Ghostland Observatory, DIPLO, Flux Pavilion, Caspa, Kill The Noise, Treasure Fingers and more.nnFor more info on Noisemaker Media, please visit: http://www.noisemakermedia.comnnFollow Noisemaker Media:nFacebook: http://www.facebook.com/noisemakermedianTwitter: http://twitter.com/noisemakermedianMySpace: http://www.myspace.com/noisemakermedianVimeo: http://www.vimeo.com/noisemakermedianYouTube: http://www.youtube.com/noisemakermediaonenn© 2012 Noisemaker Media. All Rights Reserved.   Less

Glimpse

• Vimeo 0:48

Glimpse is a creative way to display a score of notes played inside a dynamic music pentagram. The development was made during the Processin...

Glimpse is a creative way to display a score of notes played inside a dynamic music pentagram. The development was made during the Processing workshop at the first Interaction Design Lab at IUAV. Using random positions (for width and height) and mapping the keyboard, it’s possible to write notes and hear their sound on a stage. Notes are linked with lines and have different colors for each pitch and variable sizes depending on the pressing time of the key. It’s the creative coding’s way to write a score.   Less

Zimoun : 186 prepared dc-motors, cotton balls, cardboard boxes 60x60x60cm, 2013

• Vimeo 1:27

186 prepared dc-motors, cotton balls, cardboard boxes 60x60x60cmnZimoun 2013nnDC-motors, cotton balls, filler wires, cardboard boxes 60x60x6...

186 prepared dc-motors, cotton balls, cardboard boxes 60x60x60cmnZimoun 2013nnDC-motors, cotton balls, filler wires, cardboard boxes 60x60x60cm, power supply. Dimensions: ⦰ 4.9m x 6.0m height / ⦰ 15 x 19.7 ft. Installation view: Musée des Beaux-Arts Rennes, France.nnCurated by Electroni[k]. Studio production assisted by Ulf Kallscheidt and Matteo Taramelli. On-site production assisted by Matteo Taramelli, Thierry Poirier, Philippe Priour, Marine Robin, Audrey Rousseau, Juliette Babaud, Capucine Grou-Radenez, Alice Panziera, Paul Bienvault, Gilles Michenaud, Zoé Baudouin, Marie Deluen, Maxime Kerneis, Steven Akoun, Kevin Armangau, Mari-Lou Coquot, Nicolas Pelletier, Cloé De Ryck, Joris Furaut, Manuela Reynaud, Margaux Bompied, Charlotte Bresson, Corentin Lebris, Célia Richard and Marylou Pellegri. Photographies & video by Zimoun. nnSupported by Swiss Arts Council Pro Helvetia, KulturStadtBern and Amt für Kultur des Kantons Bern.nn_nn«Using simple and functional components, Zimoun builds architecturally-minded platforms of sound. Exploring mechanical rhythm and flow in prepared systems, his installations incorporate commonplace industrial objects. In an obsessive display of simple and functional materials, these works articulate a tension between the orderly patterns of Modernism and the chaotic forces of life. Carrying an emotional depth, the acoustic hum of natural phenomena in Zimoun's minimalist constructions effortlessly reverberates.» bitforms nycnn«The sound sculptures and installations of Zimoun are graceful, mechanized works of playful poetry, their structural simplicity opens like an industrial bloom to reveal a complex and intricate series of relationships, an ongoing interplay between the «artificial» and the «organic». It‘s an artistic research of simple and elegant systems to generate and study complex behaviors in sound and motion. Zimoun creates sound pieces from basic components, often using multiples of the same prepared mechanical elements to examine the creation and degeneration of patterns.» Tim Becknn«Zimoun creates complex kinetic sound sculptures by arranging industrially produced parts according to seemingly simple rules. Using motors, wires, ventilators, etc.., he creates closed systems that develop their own behavior and rules similarly to artificial creatures. Once running, they are left to themselves and go through an indeterminable process of (de)generation. These quasi autonomous creatures exist in an absolutely synthetic sphere of lifeless matter. However, within the precise, determinist systems creative categories suddenly reappear, such as deviation, refusal and transcience out of which complex patterns of behavior evolve.» Node10nn_nnCompilation video: http://www.vimeo.com/7235817
nNext exhibitions: http://www.zimoun.net/events.html
nNewsletter: http://www.zimoun.net/newsletter.html
nVideo archive on Vimeo: http://www.vimeo.com/zimoun/videos/sort:plays
nWebsite: http://www.zimoun.net
nFacebook: http://www.facebook.com/pages/Zimoun/134817185765
nn_nnhttp://www.zimoun.net   Less

Zimoun + Hannes Zweifel : 32 prepared dc-motors, 230 light tubes, 307 cardboard boxes 105x105x105cm, 2013

• Vimeo 1:06

32 prepared dc-motors, 230 light tubes, 307 cardboard boxes 105x105x105cmnZimoun + Hannes Zweifel 2013nnDC-motors, cardboard boxes, nylon, w...

32 prepared dc-motors, 230 light tubes, 307 cardboard boxes 105x105x105cmnZimoun + Hannes Zweifel 2013nnDC-motors, cardboard boxes, nylon, wood, metal, power supplies, tube lighting system. nDimensions: 28m x 16m x 5.2m. Installation view: Museum Les Champs Libres, Rennes, France. nnThe installation in the Museum Les Champs Libres in Rennes (FR) is comprised of 307 cardboard boxes of 105x105x105 cm which are suspended on the ceiling in a grid of 110x110 cm. The boxes hang approximately 1.5 m below the ceiling so that the actual room height of about 5 m is reduced by half. 230 fluorescent tubes are mounted on the ceiling of the room. They emit light which falls through the nearly 5 cm wide spaces, in between the boxes and casting a shadow of the grid pattern onto the floor. The low-hanging cardboard boxes significantly change the ambience of the room – an effect which is further intensified by the dark walls and floor. nn32 dc-motors are mounted and distributed along the walls. When activated, they set the boxes in motion by means of ropes connected vertically to the individual boxes, causing them to move with varying intensity and directions. Since the spaces between the boxes are small, the movement of one box will affect neighboring boxes, leading to a very complex overall performance of the suspension, which constantly changes and progresses. The collision of the boxes and the friction caused when they collide gives rise to a multitude of sounds and noises, which propagate along the entire ceiling of the 400 m2 showroom. The acoustic perspective changes as the viewer moves along the showroom and can be experienced in constantly new ways. The movement of the boxes also affects the light passing through the spaces in between them, thus setting the grid-like reflections on the floor into motion. The light transmits and visually amplifies the movements of the suspended boxes onto the floor. The result is an atmosphere based on sound, light and material, originating from a very simple mechanical system and commonplace materials.nnThis installation was conceptualized, developed and presented in joint collaboration between Zimoun (artist) and Hannes Zweifel (architect).nnn_nnCredits: nPresented by Maintenant Festival & Les Champs Libres. Studio production assisted by Ulf Kallscheidt, Janis Weidner and Matteo Taramelli. Technical consulting by Daniel Imboden. On-site project management by Yves-Marie Guivarch, Serge Le Fraucheur and Mélanie Trevisan. On-site production assisted by Matteo Taramelli, Christian Phigalt, Jeames Legueday, Simon Bigo, Arnaud Daney, Thierry Nicol, Simon Oriot, Thierry Poirier, Philippe Priour, Marine Robin, Audrey Rousseau, Juliette Babaud, Capucine Grou-Radenez, Alice Panziera, Paul Bienvault, Gilles Michenaud, Zoé Baudouin, Marie Deluen, Maxime Kerneis, Steven Akoun, Kevin Armangau, Mari-Lou Coquot, Nicolas Pelletier, Cloé De Ryck, Joris Furaut, Manuela Reynaud, Margaux Bompied, Charlotte Bresson, Corentin Lebris, Célia Richard and Marylou Pellegri. Photographies by Zimoun. Video by Studio Zimoun in collaboration with Arnaud Géré - Les Champs Libres. Supported by Swiss Arts Council Pro Helvetia, KulturStadtBern and Amt für Kultur des Kantons Bern.nnhttp://www.hanneszweifel.chnhttp://www.zimoun.netnn_nnCompilation video: http://www.vimeo.com/7235817
nNext exhibitions: http://www.zimoun.net/events.htmln
Newsletter: http://www.zimoun.net/newsletter.html
nVideo archive on Vimeo: http://www.vimeo.com/zimoun/videos/sort:playsn
Website: http://www.zimoun.net
nFacebook: http://www.facebook.com/pages/Zimoun/134817185765nn_   Less

Making of - What's left behind...

• Vimeo 2:50

Making of "What's left behind..." paper cut stop motion animation: https://vimeo.com/96530912nnCreated by: Julianna Szabo - www.juliannaszab...

Making of "What's left behind..." paper cut stop motion animation: https://vimeo.com/96530912nnCreated by: Julianna Szabo - www.juliannaszabo.com   Less

What's left behind...

• Vimeo 0:47

What's left behind is a paper cut stop motion animation created to make the invisible visible through raising awareness that chewing gum cou...

What's left behind is a paper cut stop motion animation created to make the invisible visible through raising awareness that chewing gum counts as litter. As part of my graduation project, my aim is to show that a simple act of binning the gum makes the city a better place to live in.nnThe general idea behind the animation is that every improperly disposed chewing gum on the ground leaves a trace behind whoever carelessly flicked it on the ground.nnWritten and directed by: Julianna Szabo - www.juliannaszabo.comnMusic by: PSAPPnnMaking of: https://vimeo.com/96680796   Less

The Body by Kirsi Enkovaara

• Vimeo 2:49

This flexible seating structure by Finnish designer Kirsi Enkovaara can be rolled and folded into limitless configurations to support the bo...

This flexible seating structure by Finnish designer Kirsi Enkovaara can be rolled and folded into limitless configurations to support the body in comfortable or strange positions.nnThe Body is Kirsi Enkovaara's graduation project from the Design Products course at London's Royal College of Art and was designed to encourage people to reevaluate how they sit.nnThe six-metre-long ribbed structure can be transformed into any shape and retains its position so the sitter can perch or lie on it in any way they find comfortable.nn"From early on we learn what is the right way for sitting in our own culture and have seats that encourage these ways of sitting, but often we can find ourselves sitting in very odd positions in standardised seats," Enkovaara told Dezeen.nn"This seat provides an opportunity and encouragement to let a person dictate the way of sitting. It encourages awareness how a person and an individual body likes to sit and provides a platform for interaction and research into individual ways of sitting," she added.nnA flesh-coloured strip of canvas with seams stitched along its length is filled with grains of rice that help the structure hold its shape once positioned.nnThe friction of the granules inside the fabric tubes creates a rigid form with enough movement to shape itself around the user's body.nnEnkovaara said she experimented with other granular materials for the stuffing including various sizes of plastic pellets, but settled on rice because of its ability to maintain a solid structure.nn"The rice inside ensures that while seated the structure moulds to your body and even the more unconventional positions can be comfortable," the designer explained.nn"Rice is a renewable and very accessible material," she added. "Throughout history it has been used in Japan in pillows offering a more ecological and economical option to foam."nnFolded shapes add height to create surfaces for sitting or for use as backrests, while twisted forms provide enclosed spaces for burrowing into.nnStretching the shape out to form undulating elongated surfaces allows it to be used like a chaise longue, while rolling it up offers more conventional seating options.nnThe simple shape of the unfolded product was designed to offer optimum flexibility so the user is able to adapt it to their own body shape and enjoy finding the most comfortable configuration.nn"While designing it, I went through multiple variations of the basic shape from round to more complex shapes but all of them ended up restricting the way it could be bent and shaped," said the designer. "I find the beauty of this product being when the simple form turns into various complicated configurations as a result of human interaction."nnEnkovaara said she is now aiming to refine the product in the hope of finding a manufacturer who can produce it for the domestic market.   Less