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Naked Yoga - Nackt Yoga - Vertrauen und innere Kraft finden

nacktyoga.net/?lang=en Nackt Yoga bedeutet die Aufmerksamkeit von äußeren und oberflächlichen Dingen (wie zum Beispiel Kleidung) nach innen zu lenken. Naked yoga means to draw attention inwards from outer and superficial things (such as clothes).

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-关于本片 内容:男人与女人互相帮彼此剔阴毛。 形式:影像(这里指,“男人给女人剃阴毛时的镜头-女性的下体”与“女人给男人剃阴毛时的镜头-男性的下体”)之间的叠化,黑白效果。 分析: 中间多次的叠化:通过影像的叠化人们能看到男性与女性生殖器叠加的效果,这意味着有意地去“模糊”性别之间的差别,使之看起来像一个男人和女人构成的”中性人“。 开头和结尾:男性生殖器的勃起和“降落”(无叠化),这是作为一个女性的主观的视角。因为我是作为一个女性去创作的。 中途插入的画作的照片:带给人一些关于这个场景的幻想,增加神秘气息。 无叠化效果的剃阴毛的镜头:客观视角,录像艺术。 黑白的意义:减少色情的成分(或者说将它模糊化),增加美学成分。 影片有二十分钟左右,在不同的时间点,表达的具体含义也不一样;如同,从一个含义“渐变”到另一个含义。恰好这二十分钟的影像也总是在“渐变”。所以是形式和内容一起“渐变”。我想这大概是我想表达的,即一首诗一样的缓慢的感官享受,而不是用一个单一的没有想象空间的概念支撑一个作品。 ------- -About this film Content: Men and women help each other remove pubic hair. Format: The superimposition between the image (here, "the lens when a man shaves a woman's pubic hair-female lower body" and "the lens when a woman shaves a man's pubic hair-male lower body"), black and white effect. analysis: Many times of dissolution in the middle: through the dissolution of images, people can see the effect of superposition of male and female genitals, which means deliberately "blurring" the gender difference so that it looks like a man and a woman. "Neutral". The beginning and the end: the erection and "landing" of the male genitals (without dissolution), which is a subjective perspective as a woman. Because I created as a woman. Photos of paintings inserted midway through: bring some fantasy to this scene and add mystery. No shaving pubic hair shaving lens: objective perspective, video art. The meaning of black and white: reduce the component of pornography (or blur it), increase the aesthetic component. The film has about 20 minutes. At different points in time, the specific meanings expressed are also different; like, from one meaning "gradient" to another meaning. It happens that these twenty-minute images are always "gradient". Therefore, the form and content "gradient" together. I think this is probably what I want to express, that is, the slow sensory enjoyment of a poem, rather than supporting a work with a single concept without imagination.

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Los Fragmentos de tu Memoria (butoh y poesía)

vimeo

LOS FRAGMENTOS DE TU MEMORIA, butoh y poesía dirección Natalia Cuéllar, poesía de Humberto Díaz Casanueva "Un tránsito de la angustia a la esperanza"; "Una experiencia hipnótica"; "Una obra esperanzadora"...fueron algunos de los comentarios del público asistente al estreno del tercer montaje de la Compañía Ruta de la Memoria, dirigida por Natalia Cuéllar. La puesta en escena butoh (disciplina originaria de Japón, después de la segunda guerra mundial) aborda la pregunta esencial por la existencia, el destino y el olvido. En esta creación se profundiza en la experiencia de la muerte como un acontecimiento que marca etapas en la historia de la humanidad y en nuestras vidas; se refiere a una muerte simbólica o muerte física. La poesía aborda gran parte de estas imágenes. En Chile, uno de los poetas más profundos en este sentido es Humberto Díaz-Casanueva (1906-1992) profesor, diplomático y Premio Nacional de Literatura 1971.Fue creador de una obra metafísica, asociada a la vanguardia, su escritura es una reflexión por la búsqueda de los orígenes y la abolición del tiempo, habla de almas entregadas a una lucha contra la disolución, la muerte y el olvido. PALABRAS DE LA DIRECTORA Natalia Cuéllar: En esta nueva propuesta de la Compañía Ruta de la Memoria, se trabaja a través o a partir de una exposición absoluta del cuerpo, es decir el intérprete se muestra no sólo desnudo en su humanidad, en su corporalidad, sino que también en la entrega que va a tener en escena. La idea de tomar los textos de Díaz Casanueva es porque siento que a partir de su palabra uno encuentra una conexión con el butoh, pues este plantea que somos almas que transitan, que vagan por la existencia…y en las palabras de Díaz Casanueva están esas preguntas: ¿por qué vivimos?, ¿por qué estamos?, ¿por qué morimos?....Yo creo que hay una coincidencia entre el verbo de Díaz Casanueva y la corporalidad que plantea el butoh. LOS FRAGMENTOS DE TU MEMORIA ELENCO: María Belén Espinosa, Raimundo Estay, Natalia Cuéllar y Alvaro Pizarro. JEFE TÉCNICO: Raúl Aguirre ASISTENTE TÉCNICO: Alexis Erpel PRODUCCIÓN: Leonel Cornejo Rojas La obra fue estrenada el 18 de Junio 2015. SALA LA VITRINA, Barrio Italia *UNA OBRA APTA PARA MAYORES 14 AÑOS!!! Realización Audiovisual: Felipe Cona Informaciones: T.9-796 55 89 / [email protected] rutadelamemoria.blogspot.com

Last download 34 hours ago

pubes

vimeo

-关于本片 内容:男人与女人互相帮彼此剔阴毛。 形式:影像(这里指,“男人给女人剃阴毛时的镜头-女性的下体”与“女人给男人剃阴毛时的镜头-男性的下体”)之间的叠化,黑白效果。 分析: 中间多次的叠化:通过影像的叠化人们能看到男性与女性生殖器叠加的效果,这意味着有意地去“模糊”性别之间的差别,使之看起来像一个男人和女人构成的”中性人“。 开头和结尾:男性生殖器的勃起和“降落”(无叠化),这是作为一个女性的主观的视角。因为我是作为一个女性去创作的。 中途插入的画作的照片:带给人一些关于这个场景的幻想,增加神秘气息。 无叠化效果的剃阴毛的镜头:客观视角,录像艺术。 黑白的意义:减少色情的成分(或者说将它模糊化),增加美学成分。 影片有二十分钟左右,在不同的时间点,表达的具体含义也不一样;如同,从一个含义“渐变”到另一个含义。恰好这二十分钟的影像也总是在“渐变”。所以是形式和内容一起“渐变”。我想这大概是我想表达的,即一首诗一样的缓慢的感官享受,而不是用一个单一的没有想象空间的概念支撑一个作品。 ------- -About this film Content: Men and women help each other remove pubic hair. Format: The superimposition between the image (here, "the lens when a man shaves a woman's pubic hair-female lower body" and "the lens when a woman shaves a man's pubic hair-male lower body"), black and white effect. analysis: Many times of dissolution in the middle: through the dissolution of images, people can see the effect of superposition of male and female genitals, which means deliberately "blurring" the gender difference so that it looks like a man and a woman. "Neutral". The beginning and the end: the erection and "landing" of the male genitals (without dissolution), which is a subjective perspective as a woman. Because I created as a woman. Photos of paintings inserted midway through: bring some fantasy to this scene and add mystery. No shaving pubic hair shaving lens: objective perspective, video art. The meaning of black and white: reduce the component of pornography (or blur it), increase the aesthetic component. The film has about 20 minutes. At different points in time, the specific meanings expressed are also different; like, from one meaning "gradient" to another meaning. It happens that these twenty-minute images are always "gradient". Therefore, the form and content "gradient" together. I think this is probably what I want to express, that is, the slow sensory enjoyment of a poem, rather than supporting a work with a single concept without imagination.

Last download moments ago

Pip Chodorov, Charlemagne 2: Piltzer (Excerpt)

vimeo

Charlemagne 2: Piltzer, Pip Chodorov 2002, 16mm, 22', couleur/color, sonore/sound, France Le 9 Décembre, 1998, Charlemagne m’a demandé d’emmener des amis à son concert piano à l’occasion d’un vernissage à la galérie Piltzer à Paris, et d’emmener une caméra aussi. J’ai exposé deux bobines de Super-8 tri-x à 9 images par seconde (5 minutes d’images), et j’ai enregistré le son sur mini-disc (22 minutes de son). Je ne pensais plus à ces bobines, qui sont restées non developées pendant deux ans et demi. Quand je les ai retrouvées en juin 2001, je les ai traitées comme négatif. J’ai été surpris par le résultat et je les ai gonflées en pellicule 16 mm positive haute contraste. Puis j’ai tiré par contact le 16 mm positif sur du 16 mm négatif. Ensuite avec une tireuse optique, j’ai tiré image par image à travers ces bobines masters négatives et positives sur de la négative couleur à travers des filtres colorés, en suivant une notation précise du concert. - On December 9, 1998, Charlemagne asked me to bring friends to his piano concert at an opening at the Gérard Piltzer gallery in Paris, and to bring a movie camera. I shot two rolls of super-8 tri-x at 9 frames per second and recorded the sound on mini-disc. I forgot about the rolls of film and left them undeveloped for a year and a half. When I found them and processed them as negative, I was surprised with the results and I blew them up onto 16mm positive high-contrast stock. I then contact printed the positive 16mm to negative 16mm and optically printed frame by frame through these positive and negative master rolls onto color negative stock through colored filters, following a precise notation of the concert music. I chose the following principles: The 6945 notes played in the concert correspond to 6923 frames of super-8 film that were shot. No frames are left out or printed twice. Speed of playing controls speed of frame succession. Discordant diminished fifths are translated into the following methods of visual discordance for the seven parts of the concert in an attempt to replicate in the visual cortex the harmonic overtones that arise in the temporal lobe when listening: • Flicker between negative and positive, • between opposites on color wheel (blue/yellow), • between opposites in retinal cone sensitivities (red/green), • between different flicker frequencies (frequencies beating in discordance); • clusters of b/w negative and monochrome frames to create overtonal retinal afterimages, • left/right screen masking and mirror image printing, • crossfading between negative and positive images. When more than two notes are played, the additional colors correspond to the complexity of sound frequencies. The final result is at once a diary film, a document of the concert, a structural flicker film, a hand-processed film, a graphic representation of music, and an attempt to apply cognitive principles in sensation and perception to film art.

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