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DE- FENCE / guerilla art project

Vimeo 5:04

Object “De– fence”n200 x 200 x 5,5cmnweight 100kgnplexiglass, steel frame, mesh, plastic signnofficial web http://de-fence.451.cz/ncon...

Object “De– fence”n200 x 200 x 5,5cmnweight 100kgnplexiglass, steel frame, mesh, plastic signnofficial web http://de-fence.451.cz/ncontact de-fence@riseup.netnhttps://twitter.com/defence16069760npresskit for download: de-fence.451.cz/wp-content/uploads/sites/11/2015/11/DE-FENCE_presskit.zipn----------------------------------------------------------------------nENGLISHnThey call it Detention Centre for the Securing of Foreigners. But a different word captures its essense. Seventy years on, we're having concentration camps built again! There are currently four such places in the Czech Republic, in which the detainees are treated worse than prisoners, and the statements issued thus far the by the Ministry of the Interior make it clear that this figure is not final. It is the opening of the last of these pooling camps in an old prison in Drahonice, the only goal of which seems to be to trample the dignity of those interned and scare off those who might still dare cross our border, which led us to conceive this activistic and artistic intervention. We refuse to come to terms with the growing walls and barbed wire, or the suffering of the innocent people hiding behind it. For a start, we brought back a shameful mesh trophy from Drahonice, which we transformed into an artistic artefact. The funds gained through its sale will be donated to those encountering this state's xenophobic migration policy first hand. Fewer fences, more heart!n----------------------------------------------------------------------nČESKYnŘíkají tomu Zařízení pro zajištění cizinců. Jejich podstatu, ale věrně vystihuje jiné slovo. Po sedmdesáti letech nám tu znovu staví koncentráky! V Česku se v současné době nacházejí čtyři taková místa, v nichž se k zadržovaným lidem chovají ještě hůře než k vězňům. Dosavadní vyjádření Ministerstva vnitra přitom nenechávají na pochybách, že se nejedná o počet konečný. Pravě otevření zatím posledního sběrného tábora v bývalé drahonické věznici, jehož jediným smyslem je - zdá se - pošlapat důstojnost internovaných a zastrašit ty, kteří by se snad ještě odvážili překročit naše hranice, nás přimělo k této aktivisticko – umělecké intervenci. Nehodláme se jen tak smířit s rostoucími zdmi, žiletkovými dráty ani s utrpením nevinných lidí, jež za ně schovávají. Z Drahonic jsme si pro začátek odnesli ostudnou trofej z pletiva a přetvořili ji do podoby uměleckého artefaktu. Prostředky, které jeho prodejem získáme, věnujeme těm, kteří se s xenofobní imigrační politikou tohoto státu setkávají na vlastní kůži. Méně plotů, více srdce! Less

The John Lewis Christmas Ad Parody 2015 (The Dark Side Version)

Vimeo 1:59

Christmas wouldn’t be Christmas without a parody of the John Lewis ad. nn[Note to John Lewis, Disney and Decca (or whoever had this video ...

Le mouvement de l'air / The movement of air

Vimeo 2:40

Le mouvement de l’airnAdrien M / Claire BnCréation 7 octobre 2015nnÉquipe de créationnConception, direction artistique, scénographie e...

Le mouvement de l’airnAdrien M / Claire BnCréation 7 octobre 2015nnÉquipe de créationnConception, direction artistique, scénographie et mise en scène : Claire Bardainne & Adrien MondotnConception informatique : Adrien MondotnChorégraphie : Yan RaballandnDanse : Rémi Boissy, Farid-Ayelem Rahmouni, Maëlle ReymondnCollaboration chorégraphique : Guillaume BertrandnMusique originale et interprétation : Jérémy ChartiernLumière : David DebrinaynCostumes : Marina PujadasnConstruction & systèmes de vol : Silvain Ohl et Eric NoëlnRégie lumière : Yan Godat, Clotilde Hoffmann en alternancenRégie générale : Pierre XuclanRégie son, en alternance : Christophe Sartori, Régis EstreichnRégie plateau & systèmes de vol : Arnaud GonzaleznDirection technique : Alexis BergeronnProduction et diffusion : Charlotte Auché, Marek Vuiton, Margaux LétangnLe développement informatique du spectacle a été réalisé avec l’aide de l’équipe Anomes et du logiciel Millumin v2.nnProductionnAdrien M / Claire BnnCoproductionsnThéâtre de L’Archipel, scène nationale de PerpignannLe Cirque-Théâtre d'ElbeufnLa Brèche, Pôle national des arts du cirque, Cherbourg-Octeville nFestival GREC, Barcelone (Espagne)nAvec le soutien de l’Adami. L’Adami, société des artistes-interprètes, gère et développe leurs droits en France et dans le monde pour une plus juste rémunération de leur talent. Elle les accompagne également par ses aides financières aux projets artistiques.nAvec la participation du DICRéAMnFondazione Romaeuropa – Arte e Cultura (Italie)nCentre des Arts d’Enghien-les-Bains, scène conventionnée pour les écritures numériquesnMaison des Arts, scène nationale de Créteil et du Val-de-MarnenEspace Jean Legendre, Théâtre de Compiègne, scène nationale de l’Oise en préfigurationnL'Odyssée, institut national des arts du mime et du geste de PérigueuxnL'Hexagone Scène Nationale Arts-Sciences - MeylannCentre chorégraphique national de Créteil et du Val-de-Marne / Cie Käfig, dans le cadre de l’Accueil StudionnSoutiensnLe Toboggan, scène conventionnée de DécinesnLes Subsistances, laboratoire international de création artistique, Lyonn nLa compagnie Adrien M / Claire B est conventionnée par la DRAC Rhône-Alpes, par la Région Rhône-Alpes et soutenue par la Ville de Lyon.nnPhotos © Romain Etienne / item et © AMCBnVidéo © Adrien M / Claire B - avec l'aide précieuse de Guillaume Faure Less

SINGULARITY [short film] 2015

Vimeo 8:41

** This film starts over black so have your speakers up nice and loud! **nnSINGULARITY [short film] 2015nnIn the midst of a war between huma...

Portraits of the Unseen Domestic Laborers Behind L.A.'s Mansions

Vimeo 4:07

Ramiro Gomez's parents are Mexican immigrants—his mother works as a janitor and his father is a Costco truck driver. Growing up in the Los...

THE SHADOW - THEATER SCHAUSPIEL KÖLN

Vimeo 1:25

Wer kennt sie nicht, die Märchen von Hans Christian Andersen, mit den häufig traurigen Helden: die kleine Meerjungfrau, das hässliche Ent...

‘Never Again Is Now’: Evelyn’s Mission

Vimeo 1:09

Evelyn Markus is the daughter Holocaust survivors from the Netherlands. Her parents beat the odds -- it is estimated that nearly 80 percent...

Talking Weapons And Peace - Michel Montecrossa's song triggered by the 2015 ISIS Terror in Paris

Vimeo 3:27

‘Talking Weapons And Peace’ - Michel Montecrossa’s New-Topical-Song triggered by the 2015 ISIS Terror in Parisnn‘Talking Weapons And...

‘Talking Weapons And Peace’ - Michel Montecrossa’s New-Topical-Song triggered by the 2015 ISIS Terror in Parisnn‘Talking Weapons And Peace’, released by Mira Sound Germany on Audio-CD, DVD and as Download, is Michel Montecrossa’s New-Topical-Song dedicated to the victims of the bloody 2015 ISIS terror in Paris.n‘Talking Weapons And Peace’ is a profound statement of insight into the complex interdependence of weapons and peace in a world of ideologies and intolerance.nMichel Montecrossa in his New-Topical-Song ‘Talking Weapons And Peace’ sees the painful need for armies and weapons as a bitter last minute cure for the illness of deadly fanaticism that is leading to catastrophes like the 2015 ISIS terror in Paris.nBut much more than counting on weapons Michel Montecrossa looks beyond the immediate violence and narrow-mindedness of dehumanization to the evolution of strong human unity ethics and true peace diplomacy as the effective long-term answer that can prevent self-radicalization from becoming so obsessive that only war and violence seem to remain as remedy.nnMore songs and videos: www.MichelMontecrossa.comnnMichel Montecrossa says:n„My New-Topical-Song ‘Talking Weapons And Peace’ is triggered by the 2015 ISIS terror in Paris. In the world of today ideologies can’t be killed. They can only be changed for the better by strong human unity ethics and true peace diplomacy convincingly backed by strong armies.“nnnnSong LyricsnTalking Weapons And PeacennAt the time when I wrote this songnthe earth was a divided world.nMankind stood in weapons.nStrong weapons for strong peace.nGood weapons for strong soldiers.nnA divided world of a divided mind.nThe red line dividing war from peacenis drawn by force of weapons.nStrong weapons for strong peace.nGood weapons for strong soldiers.nnSoldiers must be strong with the ethicsnof peace through courage and willnto end the war before it begins.nStrong armies for strong peace.nGood armies for strong security.nnThe honor of armies is to strengthen diplomacy.nThe honor of diplomacy is to end insecurity,nto bring peace through conviction.nStrong diplomacy for strong peace.nGood diplomacy for strong security.nnAt the time when I wrote this songnstrong weapons stood against the evilnsecuring time for peace and union building.nStrong weapons for strong peace.nGood weapons for strong people.nnYou must be master of your weapon -nthe weapon must not master you.nYou must prevent the war, not start it.nStand for the true, the right, the vastnand make the loving peace last.nnMusic & lyrics Michel Montecrossa, © Mira Sound Germany Less

Paris

Vimeo 3:12

"Un homme aveugle marche à travers Paris, autour de lui, la ville se réveille"nnEntièrement fait de sable, de papiers et de végétaux, c...

"Un homme aveugle marche à travers Paris, autour de lui, la ville se réveille"nnEntièrement fait de sable, de papiers et de végétaux, ce court-métrage fait parti de la collection En Sortant de l'école, dédiée cette année à l'oeuvre de Robert Desnos. Jacques Gamblin prête sa voix à l'homme aveugle, qui nous emmène dans sa promenade matinale, des grands boulevards aux bords de Seine, et nous invite à redécouvrir, réécouter , la ville qui s'éveille autour de lui. Sa ville. Paris.nn---nnnEnglish traduction of the poem:nnParisnnI'm not yet asleep,nI hear your steps in the street, men who get up early,nI recognize your steps from those of the late man's, as clearly as dawn from dusk.nIncessantly, men are awake in the townnAt all hours of the day, people wake up,nand others go to sleep.nIn the daytime, there are invisible star in the sky.nThe roads where we will never go.nnDay is breaking.nI hear your steps at dawn,nIndustrious morning workers.nThe sun can already be felt behind the mist.nThe river flows more nonchalantly.nThe sidewalk rings out with footsteps.nThe sounds of the cloaks is clearer.nHere come the uncertain month of March and the languid spring.nYou get up, light yourself, shine,nA greasy figure on the sidewalk,nTown, town where I live,nParis.nn"A blind man is walking through Paris, while the city wakes up."nnEntirely made of paper, plant and sand, this short-film is part of the Tv Collection "En Sortant de l'école", dedicated to the work of the french poet Robert Desnos. Jacques Gamblin is the voice of the blind man, and brings us with him in his morning walk, from the boulevards to the Seine River. He invites us to listen carefuly to the noises and sound of the city who wakes up. His city . Paris.nnnRéalisation : Justine VuylstekernAnimation : Marion AuvinnAnimation sable : Justine VuylstekernSon : Yan Volsy, Julien DivisianBruitages : Gregory VincentnVoix: Jacques Gamblinnn--nnFestival Image par image, Soirée d'ouverture - Val d'OisenCroq'anim-Festival du court-métrage de Paris, Soirée d'Ouverture nFICAM - Festival International du Cinéma d'Animation de MeknèsnChicago International Children’s Film Festival nKUKI - International Short Film Festival for Children and Youth - BerlinnSéquence Court-Métrage - ToulousenFestival National du film d'animation de Bruz nUn Poing c'est court - Vaulx-en-Velin Less

EVERYWHERE IS A GILA

Vimeo 2:50

Billion-Dollar Boondoggle – Originating in America's first designated wilderness area -- a protection inspired by Aldo Leopold -- New Mexi...

Billion-Dollar Boondoggle – Originating in America's first designated wilderness area -- a protection inspired by Aldo Leopold -- New Mexico's Gila River is a mainstay for the region's recreation economy and a biological gem whose riparian forests boast one of the highest concentrations of breeding birds in the country. But it's now at risk from a billion-dollar diversion project. After three failed attempts to dam and divert this still-wild river, developers are hoping the fourth time's a charm. Interior Secretary Sally Jewell has until November 23 to decide whether to allow the project to go through. Click on the link to email Interior Secretary Jewell and help save the Gila. #SavetheGila http://bit.ly/SavetheGila and visit http://www.CAVUsite.org for more information. nnEverywhere is a GilanMake you a believer,nJesus, where is a miracle when you need onenSermon on the MountnIs what the people asking forncause 5 loaves and 2 fish ain’t enough to feed the poornWilderness gotta eatnAnd the River is the sourcenEvery body wanna piecenwhen the profit is enormousnEspecially when it’s freencause taxpayers are payin’ for itnTell Governor Martinez our families are getting torn upnSeparating mother earth, from her grandsons and daughtersnA Billion dollars deportedna runoff of our resourcesnEvaporating the forestnNew Mexico can’t afford itnFirst they walled the bordernNow they wallin’ the waternA living organismnour watershed could use a lawyernSave the flora y fauna,nthat don’t get no human rightsnAnd the river their abortingnwhile praying to be pro-lifennFirst World War 18 Millions soulsnWorld War II 3% of the GlobenCold war, hot water, turn off the faucetnThe next world war gon’ be about waternnGulf War fossilized, Thermo is threateningnEven Turbine, Condensers need that hydroelectricnNow that Mars found water, Orson Welles is a prophetnCause the next world war gon’ be about waternnEver see the sunlight marble on the canopy floornPicking rocks out the river, grandkids on all foursnGonna miss the babbling brook bliss when it’s gonenafter drownin’ our future in the baptism watersnWay down by the riverside burial sightnwhere generations of Gila River Indians bore lifenwe talkin’ bout more life, Interstate Stream Commissionersnand elected officials think of your future constituentsn4 -legged or two, actin like your superiornso we floodin’ your office Secretary of the Interiornfountain penning these letters, freezing the phone linesnan acre of water on your bathroom floor aught to remind yanthis is survival, like a water balloon fightn‘cept the onlything we’re full of is inflation and tax hikesnOur people are high and dry, on this side of the state linenFirst National Wilderness torpedoed by states rightsnn- Hakim Bellamy, Inaugural Poet Laureate of Albuquerque, New Mexico (2012-2014) Less

Dario Fo: I am a Born Storyteller

Vimeo 23:15

Meet legendary playwright Dario Fo, who here tells the intriguing story of how he became a storyteller and how he revolutionized theatre by ...

Meet legendary playwright Dario Fo, who here tells the intriguing story of how he became a storyteller and how he revolutionized theatre by “destroying the fourth wall” – encouraging his audience not to be voyeurs but to participate.nn“I’m a born storyteller, it’s true.” There was a glass-blowing factory in the town in which Fo grew up, where thousands of people from all over the world were employed. As a result a strange merge of languages arose: “Grammelot was created, a language of transit made up of onomatopoeic sounds, gestures, movements, tones.” It soon became apparent that there were storytellers in all the different groups of nationalities: “Everyone told stories and I also learned to tell stories. I repeated them, then I made up stories of my own, then I took stories I’d heard from the foreigners.” Soon Fo became famous for his stories, and was often invited to dinners in order to tell them.nn“She was truly my teacher.” When Fo met Italian actress Franca Rame, his wife of over six decades, she taught him the importance of communicating with the audience – “destroying the fourth wall” – in a way that would make them feel as if they were actually on stage. When Fo and Rame discovered that they were in fact “soothing the bourgeoisie” with their plays, they felt they had to change everything. This was done by e.g. setting up their plays in places where workers gathered, such as community centres. The audience soon started to participate actively: “… the audience wanted more than us performing stories which we thought were useful to them. No, they wanted us to talk about their personal problems.” In contrast to the bourgeois audience, which Fo considered to be “voyeurs”, their new audience was very much involved.nnFo and Rame performed in a time, where a cultural revolution had erupted in Italy. They developed a way of avoiding censorship by becoming an association with the audience: “We shifted all the models, the rules of conventional theatre.” Their new approach to theatre was much to the dismay of the politicians and during those years they were imprisoned, they underwent 40 trials, suffered great violence – including the rape of Rame – and had bombs placed under the theatre: “But we won with serious injuries and serious troubles…”nnDario Fo (b. 1926) is an Italian playwright, actor, comedian, director, stage and costume designer, songwriter, painter, writer and political campaigner. Much of Fo’s dramatic work depends on improvisation and draws on e.g. the ancient Italian style of commedia dell’arte. Fo’s plays, which have been performed all over the world, are known for their social criticism, and his solo piece ‘Mistero Buffo’ (1969) (Comical Mystery) is recognised as one of the most controversial and popular spectacles in post-war European theatre, and has furthermore been denounced by the Vatican. In 1997 Fo received the Nobel Prize in Literature, the Swedish Academy praising him with the words: “He if anyone merits the epithet of jester in the true meaning of that word. With a blend of laughter and gravity he opens our eyes to abuses and injustices in society and also the wider historical perspective in which they can be placed.”nnDario Fo was interviewed by Christian Lund at Hotel Bella Sky in Copenhagen on 10 November 2015.nnCamera: Simon WeyhenEdited by: Klaus ElmernProduced by: Christian LundnCopyright: Louisiana Channel, Louisiana Museum of Modern Art, 2015nnSupported by Nordea-fonden Less

Saint-Nicolas eve

Vimeo 6:48

In the Netherlands, "Dutch children put out a clog filled with hay and a carrot for Saint Nicholas' horse. On Saint Nicholas' Day, gifts are...

The Bride - Basra's Vertical City

Vimeo 0:45

The new downtown master plan was commissioned by The Basra Governorate with an aim of maximizing the cities capacity by 2025. Avoiding urban...

Angel of Independence - Mexico City

Vimeo 0:58

A hyperzoom fly around the Angel of Independence in Mexico CitynnI shot the footge for this short video whilst on a trip to Mexico City work...

2017 Audi TT RS Spy Video

Vimeo 3:10

The 310-horsepower TTS not quick enough for you? Well, Audi will soon have an even more potent version of the TT sports car. Featured here i...

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Vimeo 5:16

Money is not just currency. It is the most common piece of artwork.n It represents our history, culture and mythology.nnThus, it does not on...

Miguel CHEVALIER Complex Meshes 2015 Durham (UK)

Vimeo 6:00

A film by Claude Mossessian © Claude MossessiannnMiguel CHEVALIER Complex Meshes 2015 nInstallation de réalité virtuelle générative et ...

A film by Claude Mossessian © Claude MossessiannnMiguel CHEVALIER Complex Meshes 2015 nInstallation de réalité virtuelle générative et interactivenMusique : Jacopo Baboni SchillinginLogiciel : Cyrille Henry / Antoine VilleretnProduction technique : Voxels ProductionsnnFestival Lumiere, Cathédrale de Durham, Durham, AngleterrenCommissaire : Curators : Helen Marriage / ArtichokennA l'occasion de « Lumiere », Miguel Chevalier imagine une création numérique inédite « Complex Meshes » pour la cathédrale de Durham, édifice construit à partir de la fin du XIe siècle et le plus abouti de l'architecture normande en Angleterre.nnAprès « Tapis Magique » projection sur le sol de la nef de la cathédrale de Casablanca, « Complex Meshes » est une projection monumentale sur l'exceptionnelle voûte de la nef de la cathédrale, audace architecturale très en avance sur son temps, qui annonce l'art gothique.nnUn Mesh est un objet tridimensionnel constitué de sommets, d'arêtes et de faces qui forme des polygones, utilisé en modélisation ou en architecture. Les meshes à l'aspect fil de fer deviennent ici une esthétique à part entière.nDifférentes trames colorées composés parfois de triangles, de quadrilatères ou d'autres polygones se superposent, évoluent, se transforment lentement en temps réel. Ce grand drapé virtuel de lumière se tord, se déplacent, se redimensionnent pour créer des formes plus diversifiées et complexes. La surface se déforme en volumes et dessine des paysages abstraits. Nous découvrons des univers très graphiques sans cesse renouvelés.nCes grilles de couleurs crée des effets de trompe l'oeil très étonnant. Elles perturbent les perceptions des visiteurs en créant une sensation d'arcs en mouvement. Cette installation fait référence aux artistes de l’art cinétique et de l’Op’Art (Bridget Riley, Victor Vasarely, Jesús Rafael Soto, Julio Le Parc...), qui ont mené des recherches sur le mouvement et l’illusion d’optique et qui préfigurent l'art numérique.nnCette œuvre interagit avec le public grâce à des capteurs qui détectent les déplacements des visiteurs dans la nef de la cathédrale. Leurs mouvements modifient cette fresque de lumière qui évolue au fur et à mesure de la soirée. Le visiteur fait et défait l’œuvre. L'expérience visuelle est enrichie par la création musicale de Jacopo Baboni Schilingi.nn« Complex Meshes » souligne grâce à la lumière l'architecture du lieu, les volume des arcs qui s'animent sous nos yeux. Cette installation numérique est en résonance avec la haute technicité de la voûte, constituée d'arcs de style roman qui se croisent en diagonale, préfigurant l'ogive de style gothique qui va permettre d'alléger les cathédrales. « Complex Meshes » univers fluides et en suspens, amplifie l'impression de légèreté de la nef.nnCette peau de pixels fait corps avec la pierre et dégage une énergie rayonnante. Les visiteur sont invités à s’asseoir sur les bancs et à lever les yeux vers le haut. Le spectateur à l'impression de voir à travers un kaléidoscope géant, symbolisant la nature infinie de la création et qui transformerait la voûte de la nef en un univers de constellations. Cette œuvre immatérielle à l'esthétique filaire permet de retranscrire l'invisible, comme la notion de flux et de trouver l'essence des choses. Cette installation très poétique invite au rêve et a une élévation spirituel. Less

What Makes Paris Look Like Paris?

Vimeo 4:00

Co-author Carl Doersch discusses "What Makes Paris Look Like Paris?" (http://cacm.acm.org/magazines/2015/12/194622), a Research Highlights a...

Co-author Carl Doersch discusses "What Makes Paris Look Like Paris?" (http://cacm.acm.org/magazines/2015/12/194622), a Research Highlights article in the December 2015 CACM. nnn---nTRANSCRIPTnnnn00:00 Ah, Paris. The restaurants, the architecture, the street life. That's not Paris, you say? You're right! But how did you know that?n00:15 We feel a city's distinctive qualities, often without knowing why. Somehow, the way that buildings, vehicles, signs, and other objects interact tells us that we're in Paris. Or London. Or Prague.n00:35 Join us as a computer vision researcher tells us how he found out What Makes Paris Look Like Paris. n00:45 [Intro graphics/music]n00:54 Carl Doersch is a doctoral student in the Machine Learning Department at Pittsburgh's Carnegie Mellon University. A trip to Paris with his advisor opened his eyes to architectural features he'd never noticed before.n01:12 CARL DOERSCH: And it just struck me a lot that you can go to different boulevards in Paris and see the same kinds of balconies and railings on the windows, and all of these features that are just repeated everywhere.n01:27 So Doersch and advisor Alexei Efros joined three other researchers to teach computers how to unlock the city's visual secrets.n01:36 They started with thousands of Google Street View images from Paris and eleven other cities for comparison. Next, they let their computers divide each image into about 25,000 patches.n01:49 DOERSCH: So if you start with a patch that's too small, you're going to find lots of matches because you have very few features in the patch. You'll be able to find lots of things that are similar to that. But you're probably not going to have anything interesting in that patch.n02:04 After dividing the images into patches, the algorithm selects some at random and looks for elements that occur frequently, but more often in Paris than in not-Paris.n02:15 DOERSCH: So for example: The Eiffel Tower is very informative. You see that, you know immediately that you're looking at Paris. But the problem is there's only one of them. … On the other hand, if you think about something like ordinary streets, like just the pavement, that's very frequent, but it's not discriminative.n02:33 After selecting patches, the real magic begins, as the algorithm looks for similar ones, with the knowledge of whether the source image is from Paris or another location.n02:44 CARL DOERSCH [4867/0127] If the street sign is actually distinctive, then it's only going to match to other street signs in Paris. And the pavement is going to match to pavement that occurs everywhere.n02:53 The algorithm then uses the best-matching patches as training data, and the winnowing process repeats. The result is a system that can go far beyond street scenes.n03:05 DOERSCH: You could also apply this to images of products and, for example, try to figure out what differentiates Apple products from everybody else's products.n03:14 But even if the algorithm is used solely on cities, what the paper calls "computational geocultural modeling" could reveal knowledge about who we are, and where we came from.n03:27 DOERSCH: We can get a map which shows us where the architectural influence crossed borders, and it can tell us how cultures interacted in the past.n03:37 Find out more in in the Research Highlights article, "What Makes Paris Look like Paris?", in the December 2015 issue of Communications of the ACM, .n03:49 [Outro and credits] Less