Category: Culture

Off lines – come unique aged tone

Posted by – June 14, 2016

Offline is the New Luxury (2016, 47 min) from Bregtje van der Haak on Vimeo.

Offline is The New Luxury
Digital networks are forever expanding. Places without cell phone reception or a Wi-Fi connection are increasingly hard to find. If tech companies have their way, the remaining 'white spots' on the digital map will soon disappear, leaving no place on earth unconnected. But what is happening off the grid?

White Spots is a collaborative multimedia project by documentary filmmaker Bregtje van der Haak, visual artist Jacqueline Hassink, and information designer Richard Vijgen. Working in various media, they travel beyond the frontiers of the networked world to explore unwired landscapes, communities and lifestyles, questioning the need to be constantly plugged into a single, seamless planetary tech-topia. Will offline become the new luxury?

This television documentary takes viewers on a tour of the offline world and includes interviews with internet critic Evgeny Morozov, psychologist Sherry Turkle (MIT), Amish minister Norman Yoder (Shipshewana, Indiana), poet and writer Aram Pachyan (Armenia), and Minister of Telecommunications Harin Fernando of Sri Lanka. The documentary is directed by Bregtje van der Haak and produced by VPRO Backlight. It comes with the free White Spots App (for android and iPhone, design Richard Vijgen).

www.white-spots.net
backlight.vpro.nl

conjectures

Posted by – June 9, 2016

abc conjecture | Agoh’s conjecture | Andrica’s conjecture | Carmichael condition | Chebyshev bias | Cramér conjecture | Eberhart’s conjecture | Euler’s criterion | Fermat quotient | Fermat’s little theorem | Fermat’s theorem | Gauss’s criterion | Gilbreath’s conjecture | Giuga’s conjecture | Grimm’s conjecture | Kummer’s conjecture | Landau’s formula | Lehmer’s totient problem | Mann’s theorem | norm theorem | prime Diophantine equations | prime distance | prime formulas | prime number | prime quadratic effect | Selfridge’s conjecture | Vandiver’s criteria | Wagstaff’s conjecture | Wilson quotient

The abc conjecture is a conjecture due to Oesterlé and Masser in 1985. It states that, for any infinitesimal ϵ>0, there exists a constant C_ϵ such that for any three relatively prime integers a, b, c satisfying a+bc, the inequality max(a, b, c)≤C_ϵ ∏_(pabc) p^(1+ϵ) holds, where pabc indicates that the product is over primes p which divide the product abc. If this conjecture were true, it would imply Fermat’s last theorem for sufficiently large powers. This is related to the fact that the abc conjecture implies that there are at least Clnx non‐Wieferich primes ≤x for some constant C. The conjecture can also be stated by defining the height and radical of the sum P:a+bc as h(P) | = | max{lna, lnb, lnc} r(P) | = | ∑_(pabc) lnp, where p runs over all prime divisors of a, b, and c.

math world wolframalpha-mathworld

Here is one of the trickiest unanswered questions in mathematics:

Can every even whole number greater than 2 be written as the sum of two primes?
read more there; https://plus.maths.org/

and regardless of the jump,
how does this connect to music… is this a possible example? sounds incredible anyhow!

http://www.opengoldbergvariations.org

talent meets art (Jessica Dance)

Posted by – March 14, 2016

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collotype-1856… today only at kyoto

Posted by – September 29, 2015

Collotype is an amazing printing technique, invented by a french man, Alphonse Pointevin in 1856. I did not know about it until I saw this video in Open Culture.

Imagine being the last one in this world to continue, what others have started before you.

Osamu Yamamoto is working for the printing company Benrido in Kyoto, Japan. He is in charge of the collotype – a technology almost extinct today.
He and his studio are working for the office of the Japanese Emperor, making copies and reprints of scrolls, paintings and letters, many centuries old. They are saving Japanese artworks and cultural heritage for the generations to come.

Collotype is a 150 year old printing process from Europe. Around a hundred years ago, it was the leading technology, every country had a great number of collotype studios. You quite possibly own something printed by collotype without knowing it.

In the last five years, the remaining collotype studios in Firenze, Italy and Leipzig, Germany, closed down their daily work. Now there are only two companies printing with collotype left in this world. Both are situated in Kyoto, with Benrido being the bigger studio and the only one which can print in color.
The quality of collotype prints can hardly be matched by today's printers, the colors are extremely endurant and stay vibrant for decades. It's a printing without relying on dots, hence it's almost 1:1 in resolution when compared to the original.

With prior appointment, you can visit the workshop of Benrido. They also offer collotype printed artworks and postcards at their shop in Kyoto.

Company Benrido
http://benrido-collotype.today/

Soundtrack by Mario Kaoru Mevy:
https://soundcloud.com/mario-kaoru-mevy/sets/the-sound-of-ink-steel

(c) Fritz Schumann 2015
www.fotografritz.de
https://vimeo.com/fotografritz

 

The collotype plate is made by coating a plate of glass or metal with a substrate composed of gelatin or other colloid and hardening it. Then it is coated with a thick coat of dichromated gelatine and dried carefully at a controlled temperature (a little over 50 degrees Celsius) so it ‘reticulates’ or breaks up into a finely grained pattern when washed later in approximately 16 °C water. The plate is then exposed in contact with the negative using an ultraviolet (UV) light source which changes the ability of the exposed gelatine to absorb water later. The plate is developed by carefully washing out the dichromate salt and dried without heat. The plate is left in a cool dry place to cure for 24 hours before using it to print.

To produce prints, the plate is dampened with a glycerine/water mixture which is slightly acidic, then blotted before inking with collotype ink using a leather or velvet roller. A hard finished paper such as Bristol, is then put on top of the plate and covered with a tympan before being printed typically using a hand proof press. Collotypes are printed using less pressure than is used in printing intaglio, or stone lithography. While it is possible to print by hand using a roller or brayer, an acceptable consistency of pressure and even distribution of ink is most effectively achieved using a press.

Here a bit more of technical info about the process…

gallery elRAiSE

Posted by – August 13, 2015

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Le GabyArmy

Posted by – July 18, 2015

flagGabyArmy

MaisonGabyArmy copy

 

MaisonGabyArmy IPhone2

GabyArmy

Posted by – July 17, 2015

Print

Maison G.Army iphone 3
Ganesha Walls

SOUR iPhone

Juan Bertinho (dedicated 2 Shonaaathaaannn)

Posted by – June 26, 2015

the 1ne & Only JuanBertinho:

 

The PiMP" Juan Bertinho and some of his hoes.

The PiMP” Juan Bertinho and some of his hoes.

 

Tinho playing his role of undercover pusher.

Tinho playing his role of undercover pusher.

 

Juan Bertinho went to Home Depot and forgot all the skills he has with a drill, he's a Master"

Juan Bertinho went to Home Depot and forgot all the skills he had with a drill, he’s a Master”

 

Tinho playing a cool guy with the animals, detras de esa sonrisa....como diria Roberto Antonio, aaaayyaaaa yyaaaaiiiii

Tinho playing a cool guy with the animals, behind that mask as Roberto Antonio would put it  aaaayyaaaa yyaaaaiiiii

 

Drunk and Out of Control, Tinho plays everybody 4 a fool, he's the Man"

Drunk and Out of Control, Tinho plays everybody 4 a fool, he’s the Man”

 

On several times Tinho played as  Pablo Escobar stunt & double, he's still asked to perform, Tinho is not feeling it lately.

On several times Tinho played as Pablo Escobar stunt & double, he’s still asked to perform, Tinho is not feeling it lately.

La Guadalupana

Posted by – April 29, 2015

 

 

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theMonoGram

Posted by – February 10, 2015

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theBATMAN

Posted by – February 10, 2015

 

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dough genital on knees jaw

Posted by – September 23, 2014

<iframe width=”678″ height=”381″ src=”//www.youtube.com/embed/NdZxI3nFVJs?rel=0″ frameborder=”0″ allowfullscreen></iframe>

Directed by Bregtje van der Haak / produced by VPRO Backlight, The Netherlands

This VPRO Backlight documentary tracks down the amnesiac zeitgeist starting at the Royal Tropical Institute in Amsterdam, whose world-famous 250-year old library was lost to budget cuts. The 400.000 Books were saved from the shredder by Ismail Serageldin, director of the world-famous Library of Alexandria, who is turning the legendary library of classical antiquity into a new knowledge hub for the digital world.

 

THE POWER OF WORDS

Posted by – August 31, 2014

 

 

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gatheraroundwithelektrobankinhousecorporated

Posted by – August 25, 2014

 

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workitout

OS GEMEOS BOEiNG 737 Mural 4 WORLD CUP

Posted by – May 30, 2014

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3D SAND Drawings”

Posted by – May 5, 2014

 

 

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CAMPUS by Duque Motta Arquitectural FiRM

Posted by – May 5, 2014

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The Solitude of Latin America

Posted by – April 19, 2014

Gabriel García Márquez’s Nobel Prize Lecture, 8 December 1982.

The Solitude of Latin America

Antonio Pigafetta, the Florentine navigator who accompanied Magellan on the
first circumnavigation around the world, kept a meticulous log of his
journey through our South American continent, which, nevertheless, also
seems to be an adventure into the imagination. He related that he had seen
pigs with their umbilicus on their backs and birds without feet, the female
of the species of which would brood their eggs on the backs of the males,
as well as others like gannets without tongues, whose beak looked like a
spoon. He wrote that he had seen a monstrosity of an animal with the head
and ears of a mule, the body of a camel, the hooves of a deer and the neigh
of a horse. He related they had put a mirror in front of the first native
they met in Patagonia and how that overexcited giant lost the use of his
reason out of fear of his own image.

This short and fascinating book, in which we can perceive the gems of our
contemporary novels, is not, by any means, the most surprising testimony of
our reality at that time. The Chroniclers of the Indies have left us
innumerable others. Eldorado, our illusory land which was much sought
after, appeared on numerous maps over a long period, changing in situation
and extent according to the whim of the cartographers. The mythical Álvar
Núñez Cabeza de Vaca, in search of the fount of Eternal Youth, spent eight
years exploring the north of Mexico in a crazy expedition whose members ate
one another; only five of the six hundred who set out returned home. One of
the many mysteries which was never unravelled is that of the eleven
thousand mules, each loaded with one hundred pounds weight of gold, which
left Cuzco one day to pay the ransom of Atahualpa and which never arrived
at their destination. Later on, during the colonial period, they used to
sell in Cartagena de India chickens raised on alluvial soils in whose
gizzards were found gold nuggets. This delirium for gold among our founding
fathers has been a bane upon us until very recent times. Why, only in the
last century, the German mission appointed to study the construction of a
railway line between the oceans across the Panamanian isthmus concluded
that the project was a viable one on the condition that the rails should be
not of iron, a scarce metal in the region, but of gold.

The independence from Spanish domination did not save us from this madness.
General Antonio López de Santana, thrice dictator of Mexico, had the right
leg he lost in the so-called War of the Cakes buried with all funeral pomp.
General García Moreno governed Ecuador for sixteen years as an absolute
monarch and his dead body, dressed in full-dress uniform and his cuirass
with its medals, sat in state upon the presidential throne. General
Maximilian Hernández Martínez, the theosophical despot of El Salvador who
had thirty thousand peasants exterminated in a savage orgy of killing,
invented a pendulum to discover whether food was poisoned, and had the
street lamps covered with red paper to combat an epidemic of scarlet fever.
The monument to General Francisco Morazan, raised up in the main square of
Tegucigalpa is, in reality, a statue of Marshal Ney which was bought in
repository of second-hand statues in Paris.

Eleven years ago, one of the outstanding poets of our time, Pablo Neruda
from Chile, brought light to this very chamber with his words. In the
European mind, in those of good – and often those of bad – consciences, we
witness, on a forceful scale never seen before, the eruption of an
awareness of the phantoms of Latin America, that great homeland of deluded
men and historic women, whose infinite stubbornness is confused with
legend. We have not had a moment of serenity. A Promethean president
embattled in a palace in flames died fighting single-handedly against an
army, and two air disasters which occurred under suspicious circumstances,
circumstances which were never clarified, cut off the life of another of
generous nature and that of a democratic soldier who had restored the
dignity of his nation. There have been five wars and seventeen ‘coups
d’etat’ and the rise of a devilish dictator who, in the name of God,
accomplished the first genocide in Latin America in our time. Meanwhile,
twenty million Latin American children died before their second birthday,
which is more than all those born in Europe since 1970. Nearly one hundred
and twenty thousand have disappeared as a consequence of repression, which
is as if, today, no one knew where all the inhabitants of Uppsala were.
Many women arrested during pregnancy gave birth in Argentine prisons, but,
still, where or who their children are is not known; either they were
passed into secret adoption or interned in orphanages by the military
authorities. So that things should not continue thus, two hundred thousand
men and women have given up their lives over the continent, and more than
one hundred thousand in three, tiny wilful countries in Central America:
Nicaragua, El Salvador and Guatemala. Were this to happen in the United
States, the proportionate ratio would be one million six hundred thousand
violent deaths in four years. A million people have fled from Chile, a
country noted for its tradition of hospitality: that is, ten per cent of
its population. Uruguay, a tiny nation of two and a half million
inhabitants, a nation which considered itself one of the most civilized
countries of the continent, has lost one in five of its citizens into
exile. The civil war in El Salvador has created, since 1979, virtually one
refugee every twenty minutes. A country created from all these Latin
Americans either in exile or in enforced emigration would have a larger
population than Norway.

I dare to believe that it is this highly unusual state of affairs, and not
only its literary expression, which, this year, has merited the attention
of the Swedish Literary Academy: a reality which is not one on paper but
which lives in us and determines each moment of our countless daily deaths,
one which constantly replenishes an insatiable fount of creation, full of
unhappiness and beauty, of which this wandering and nostalgic Colombian is
merely another number singled out by fate. Poets and beggars, musicians and
prophets, soldiers and scoundrels, all we creatures of that disorderly
reality have needed to ask little of the imagination, for the major
challenge before us has been the want of conventional resources to make our
life credible. This, my friends, is the nub of our solitude.

For, if these setbacks benumb us, we who are of its essence, it is not
difficult to understand that the mental talents of this side of the world,
in an ecstasy of contemplation of their own cultures, have found themselves
without a proper means to interpret us. One realizes this when they insist
on measuring us with the same yardstick with which they measure themselves,
without realizing that the ravages of life are not the same for all, and
that the search for one’s own identity is as arduous and bloody for us as
it was for them. To interpret our reality through schemas which are alien
to us only has the effect of making us even more unknown, ever less free,
ever more solitary. Perhaps venerable old Europe would be more sympathetic
if it tried to see us in its own past; if it remembered that London needed
three hundred years to build her first defensive wall, and another three
hundred before her first bishop; that Rome debated in the darkness of
uncertainty for twenty centuries before an Etruscan king rooted her in
history, and that even in the sixteenth century the pacifist Swiss of
today, who so delight us with their mild cheeses and their cheeky clocks,
made Europe bloody as soldiers of fortune. Even in the culminating phase of
the Renaissance, twelve thousand mercenary lansquenets of the Imperial
armies sacked and razed Rome, cutting down eight thousand of its
inhabitants.

I have no desire to give shape to the ideals of Tonio Kröger, whose dreams
of a union between the chaste North and a passionate South excited Thomas
Mann in this place fifty-three years ago. But I believe that those
clear-sighted Europeans who also struggle here for a wider homeland, more
humane and just, could help us more if they were to revise fundamentally
their way of seeing us. Their solidarity with our aspirations does not make
us feel any less alone so long as it is not made real by acts of genuine
support to people who desire to have their own life while sharing the good
things in the world.

Latin America has no desire to be, nor should it be, a pawn without will,
neither is it a mere shadow of a dream that its designs for independence
and originality should become an aspiration of the western hemisphere.
Nevertheless, advances in methods of travel which have reduced the huge
distances between our Americas and Europe seem to increased our cultural
distance. Why are we granted unreservedly a recognition of our originality
in literature when our attempts, in the face of enormous difficulties, to
bring about social change are denied us with all sorts of mistrust? Why
must they think that the system of social justice imposed by advanced
European nations upon their peoples cannot also be an objective for us
Latin Americans but with different methods in different conditions? No: the
violence and disproportionate misery of our history are the result of
secular injustice and infinite bitterness and not a plot hatched three
thousand leagues distance from our home. But many European leaders and
thinkers have thought so, with all the childlike regression of grandfathers
who have forgotten the life-giving madness of youth, as if it were not
possible to live a destiny other than one at the mercy of the two great
leaders and masters of the world.

Nevertheless, in the face of oppression, pillage and abandonment, our reply
is life. Neither floods nor plagues, nor famines nor cataclysms, nor even
eternal war century after century have managed to reduce the tenacious
advantage that life has over death. It is an advantage which is on the
increase and quickens apace: every year, there are seventy-four million
more births than deaths, a sufficient number of new living souls to
populate New York every year seven times over. The majority of these are
born in countries with few resources, and among these, naturally, the
countries of Latin America. On the other hand, the more prosperous nations
have succeeded in accumulating sufficient destructive power to annihilate
one hundred times over not only every human being who has ever existed but
every living creature ever to have graced this planet of misfortune.

On a day like today, my master William Faulkner said in this very place, “I
refuse to admit the end of mankind.” I should not feel myself worthy of
standing where he once stood were I not fully conscious that, for the first
time in the history of humanity, the colossal disaster which he refused to
recognize thirty-two years ago is now simply a scientific possibility. Face
to face with a reality that overwhelms us, one which over man’s perceptions
of time must have seemed a utopia, tellers of tales who, like me, are
capable of believing anything, feel entitled to believe that it is not yet
too late to undertake the creation of a minor utopia: a new and limitless
utopia for life, wherein no one can decide for others how they are to die,
where love really can be true and happiness possible, where the lineal
generations of one hundred years of solitude will have at last and for ever
a second opportunity on earth.

Sand.Sculptures ( michelle.black.champaz )

Posted by – March 31, 2014

sand1 sand2 sand3 sand4 sand5 sand6

fashionBrands(fontnotsohype)

Posted by – March 31, 2014

 

 

 

 

 

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MAvsAC

Posted by – February 19, 2014

A map of Europe in 1914

Posted by – February 5, 2014

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via publicDomainReview

Cartoon Map of Europe in 1914

A German cartoon from 1914 showing the lay of the political land as seen from the German perspective at the outbreak of World War One. As the text below the picture states, Germany and the Austro-Hungary Empire defend “blows from all sides”, particularly from the east in the form of a huge snarling Russian face. To the right of the image a banner declares that 10% of the proceeds of the map’s sale will go toward the Red Cross. The map is accompanied by a contemporary version of a French woodcut depicting a very different looking Europe of 1870.

The images are from the Berlin State Library and are featured as part of the wonderful new project from Europeana, “Europeana, 1914-18” which is marking 100 years since the outbreak of WW1 with a remarkable pan-European pooling of material, from both individuals and institutions, relating to the “Great War”.
– See more at: http://publicdomainreview.org/2014/01/29/cartoon-map-of-europe-in-1914/#sthash.QPcHDjer.dpuf

scsh

#StanSmith

Posted by – February 5, 2014

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match itch shotgun

Posted by – October 24, 2013

iLLEGAL MOUNTAiN ViLLA ON TOP OF 26 STORY BUiLDiNG@BEiJiNG

Posted by – October 15, 2013

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drainwashworldweliveandwalkwithlikeaflukewhisperunderyourskin”

Posted by – October 15, 2013

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kindofalmodovar

DALEAST (street.artist)

Posted by – October 15, 2013

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SK8Quitect”

Posted by – October 15, 2013

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TOKiO”

Posted by – October 15, 2013

Fantasmagorie

Posted by – October 3, 2013


Fantasmagorie (1908)

via wikipedia

Cohl made “Fantasmagorie” from February to May or June 1908. This is considered the first fully animated film ever made. It was made up of 700 drawings, each of which was double-exposed (animated “on twos”), leading to a running time of almost two minutes. Despite the short running time, the piece was packed with material devised in a “stream of consciousness” style. It borrowed from Blackton in using a “chalk-line effect” (filming black lines on white paper, then reversing the negative to make it look like white chalk on a black chalkboard), having the main character drawn by the artist’s hand on camera, and the main characters of a clown and a gentleman (this taken from Blackton’s “Humorous Phases of Funny Faces”). The film, in all of its wild transformations, is a direct tribute to the by-then forgotten Incoherent movement. The title is a reference to the “fantasmograph”, a mid-Nineteenth Century variant of the magic lantern that projected ghostly images that floated across the walls.

“Fantasmagorie” was released on August 17, 1908. This was followed by two more films, “Le Cauchemar du fantoche” [“The Puppet’s Nightmare”, now lost] and “Un Drame chez les fantoches” [“A Puppet Drama”, called “The Love Affair in Toyland” for American release and “Mystical Love-Making” for British release], all completed in 1908. These three films are united by their chalk-line style, the stick-figure clown protagonists, and the constant transformations. Cohl made the plots of these films up as he was filming them. He would put a drawing on the lightbox, photograph it, trace onto next sheet with slight changes, photograph that, and so on. This meant that the pictures did not jitter and the plot was spontaneous. Cohl had to calculate the timing in advance. The process was demanding and time-consuming, which is probably why he moved away from drawn animation after “Un Drame chez les fantoches”.

via ‘Les Indépendants du Premier Siècle’

Emile Courtet was born in Paris in 1857 and adopted the pseudonym Cohl when he was 20 . He only began to take an interest in the cinema in 1907 – a year that marked a turning point in what was already a productive life and career.
Between the ages of 18 and 50, Cohl plied a large number of trades. He worked mainly in satiric illustration (he was friend and disciple of André Gill), cartoons, journalism, and also theater and photography.

What is interesting in Cohl’s work is that, in addition to having invented the animated cartoons with his “Fantasmagorie” (a magic lantern term), projected on August 17, 1908 at the Théâtre de Gymnase in Paris, he gave animation a sense of poetry, a plethora of innovations, and made it an art in its own right, dubbed by some as the “eighth art,” which combined cinema, drawing and painting. Thanks to the intellectual experiences of his youth, Cohl gave free rein to his imagination and made films in which critics have discerned the influence of cubism, but also the premises of Dadaism and Surrealism.

He innovated with the creation of the first animation hero, Fantoche. He made the first puppet animation film, the first animation films in color, the first animated commercial, the first animation films based on comic strips. He used paper cutouts, and often combined images, animated objects, pixillation, and layering with real-life footagewithin the same film.


The Hasher’s Delirium (1910)


The Automatic Moving Company (1912)

Émile Cohl at IMDB, http://www.imdb.com/name/nm0169871/

Stare away, too heavy

Posted by – September 4, 2013

Led Zeppelin es una banda inglesa…que inicia su ruta en la industria musical en el añ0 1968, y que ahora todo el mundo conoce, en parte, gracias a una recomendación de Dusty Springfield a la disquera Atlantic, ya que habia colaborado con John Paul Jones, bajista y tecladista de Led Zeppelin, en las dos primeras canciones de su disco Dusty … Definitely; Ain’t No Sun Since You’ve Been Gone, Conductor – John Paul Jones, escrita por – Grant*, Whitfield*, May* y Take Another Little Piece Of My Heart, Conductor – John Paul Jones, escrita por Berns*, Ragavoy*

En diciembre de 2012, Led Zeppelin fue honorado junto a David Letterman, George “Buddy” Guy, Natalia Makarova y Dustin Hoffman en el Kennedy Center… y se pueden apreciar la mirada mojada de Robert Plant cuando un coro de más de 30 personas canta la canción Stairway To Heaven que le genera el mismo efecto a nuestra madre cuando la escucha…


más info sobre ese evento aqui >>>

Joel Sanz (1947-2013)

Posted by – August 31, 2013

Con mucho cariño recuerdo a Joel, premio nacional de arquitectura (2000) y profesor de diseño en la Unidad Docente 9, donde estudié toda mi carrera. En éste video, Joel habla de sus inicios en la arquitectura, varias anécdotas interesantes, mientras su perro, Oso, circula los espacios de la casa, muy divertido. La historia que narra sirve como punto de partida para escribir un artículo en wikipedia, ya que no lo conseguí… lo he comenzado. / Aqui el link al artículo > https://es.wikipedia.org/wiki/Joel_Sanz_Pino

the evolution of the origin of species, 2013 edition

Posted by – June 21, 2013

nice project…
haven’t read this book yet, but half of ‘On Natural Selection’,
written, approximately 5 times my age…ago.

off writ cause / egg no runs

Posted by – June 17, 2013

"I Sing the Desert Electric" is a collection of video shorts taken in four locations and representing four distinct and highly regionalized musical scenes. From fuzzy electric guitars of Mauritania to raucous electro street parties of Bamako, the short survey is a window into contemporary performance in the Western Sahel."

sahelsounds.com