kottke.org posts about video
Werner Herzog doesn’t know anything about skateboarding. But suspecting the director was a kindred spirit, Ian Michna interviewed Herzog for skate mag Jenkem. My favorite bit is when Michna asks Herzog if he shot a skateboarding video, what music would he choose as a soundtrack:
What comes to mind first and foremost would be Russian Orthodox church choirs, something that creates this kind of strange feeling of space and sacrality — so what you are doing is special, bordering the sacred.
(via @mathowie)
Fried eggs are something almost everyone, regardless of culinary prowess, can cook. Even so, in the hands of a master chef like Jacques Pépin, even this simple dish can be improved upon. For starters, he uses waaaay more butter in the pan than most people probably do. And there’s water involved? The finished product looks amazing.
After you’re done watching that, you should check out Pépin making scrambled eggs:
And then finally, here’s Pépin making omelettes two ways (country/”American-style” and classic French):
Love that backhand plating technique!
Using images from the Kaguya orbiter, Seán Doran has constructed a 4-hour realtime orbit of the Moon. Feel free to pair with your favorite piece of relaxing music for a meditative viewing experience.
See also another video by Doran: An Incredible Video of What It’s Like to Orbit the Earth for 90 Minutes.
From photographer and filmmaker Roman De Giuli, Satellike is a fluid abstract video that simulates satellite imagery of river deltas, etc. As De Giuli explains, the effects he uses here are entirely practical, not digital.
What you see in SATELLIKE are very long shots of watery ink in motion on several coats of half dried paint. Drying the paint leads to organic structures which can be brought to life again with water, ink and sour flow release mediums. The results look different from my usual approach, way more realistic and less otherworldly.
The organic nature of fluids in motion is very tough to duplicate digitally with the accuracy to feel, I don’t know, relaxing. I don’t know how you quantify or categorize this feeling/intuition, but watching this video feels very much like watching a river or the ocean flow. You can see more of De Giuli’s fluid work on his website.
Inspired by rock climbers, Danny MacAskill visits the Isle of Skye with his mountain bike to find an impossibly steep route down the Dubh Slabs. He is so far back in the saddle on some of the steepest stuff. I know high-end mountain bike brakes are on hair-triggers, but good God I wonder what MacAskill’s grip strength is… (thx, jeffrey)
In this short film by Simon Perkins, Jon Wilson shares his story of how cancer left him with one leg and the perspective he’s gained by skinning up and then skiing down mountains.
Sometimes I forget I’m broken. I cover up my scars and plug my ears. Things go okay for a while, but then I start thinking I’m entitled to some artificial slice of happiness, and before I know it I’m climbing a ladder to nowhere. To get down again, and find my equilibrium, it helps to remember when I was so low. It also helps to remind myself that life is relatively good if I have the luxury to ski up a goddamn mountain.
Many of us are scared to be broken. I’m a high school teacher, and I see it in the kids around me every day. They’re conditioned by black mirrors and social media algorithms designed for “perfect offerings.” We tell them about the ills of brokenness, but not the power and wisdom in it. We talk about post-traumatic stress — not post-traumatic growth. Being broken is a pre-existing condition that is never expunged from our record. And while I would never wish it on anyone, I would never trade in my scars, even if it meant having my leg back.
PBS TV series American Masters has been on the air since 1986, profiling prominent American cultural creators. Only a small fraction of the footage for the interviews they do makes it into the episodes, so they’ve created a digital archive of over 1000 hours of footage “from more than 1,000 original, never-before-seen, full, raw interviews”.
For four decades, we’ve asked: who has changed America? We’ve aired hundreds of carefully crafted programs that illuminate the stories of our cultural giants. But just a fraction of the interviews filmed for American Masters appear in the final films; nearly 96% of the footage never gets released. Now, the American Masters digital archive makes this rich catalog of interviews available to the public.
You can access the archive here. Many of them clock in between 20 and 40 minutes in length — like these interviews from Maya Angelou, David Bowie, Nan Goldin, and Betty White — but some are much longer, like Carol Burnett’s 3-hour 39-minute interview, Quincy Jones’ nearly 2-hour interview, and Steven Spielberg’s 1-hour 20-minute interview. What a treasure trove! (via @tedgioia)
Last night, Tony Hawk posted a video of himself doing a 720 at the age of 52 (a full 2 years beyond the Brimley/Cocoon Line).
Hawk says it’ll probably be his last one — he’s getting too old, his spin is slower, etc. In 2016, at the age of 48, Hawk hit his final 900:
There’s a way in which watching Hawk perform these tricks and watching, say, 11-year-old Gui Khury perform the world’s first 1080 is the same: they’re both attempting something they aren’t sure they can do at that moment. But Hawk has both the benefit and hindrance of wisdom to draw upon here. He knows he can do a 720 because he’s done probably hundreds of them before, but he’s also battling his body, self-doubt, and probably the tiny voice in the back of his head saying “why exactly do you need to do this, dumbass?” Hawk probably knows better than anyone that as you get older, the true battle in sports (and life) is not against others or the record book, it’s against yourself.
Update: On Twitter, @limitedmitch says: “If you want to feel desperately sad today, Tony Hawk has been sporadically doing tricks ‘for the last time ever’ on his Instagram”.
Because the pandemic (mostly) shuttered US movie theaters for the duration of 2020 and studios reduced or redirected their output accordingly, you might be excused for thinking that it was a bad year for film. As David Ehrlich’s masterful video countdown of the 25 best films of 2020 demonstrates, there was plenty of good stuff out there if you knew where to look.
I didn’t end up seeing many of the films on Ehrlich’s list — I’ve been stuck rewatching old favorites and meaningless garbage during the pandemic — but I’m going to make some time for several of these soon. Two documentaries that I was surprised to see omitted: My Octopus Teacher and The Painter and the Thief. The latter is one of the best movies I’ve seen in ages — I can’t imagine that Ms. Americana (for instance) was better. And I’m Thinking of Ending Things? Did not do it for me at all. *shrug* (thx, brandt)
I cannot improve upon the succinct description of this video from Natalie Smillie: “A new Ghibli film?! No — this is an advert for the state of Oregon.” It’s a great ad and certainly takes both content and stylistic cues from Studio Ghibli’s films. The video, along with a previous one, was created for Travel Oregon by creative agency Psyop and animation studio Sun Creature.
At the Biden/Harris inauguration on Wednesday, poet Amanda Gorman, dressed in the yellow of the Sun, realigned the planets with her recitation of a poem called The Hill We Climb. In 2018 for The Climate Reality Project, riffing off of the iconic photo of the Earth rising over the surface of the Moon taken by Apollo 8 astronauts, Gorman wrote a poem called Earthrise about the climate emergency and the action we must take to end it. From the text of the poem:
Where despite disparities
We all care to protect this world,
This riddled blue marble, this little true marvel
To muster the verve and the nerve
To see how we can serve
Our planet. You don’t need to be a politician
To make it your mission to conserve, to protect,
To preserve that one and only home
That is ours,
To use your unique power
To give next generations the planet they deserve.
We are demonstrating, creating, advocating
We heed this inconvenient truth, because we need to be anything but lenient
With the future of our youth.
And while this is a training,
in sustaining the future of our planet,
There is no rehearsal. The time is
Now
Now
Now,
Because the reversal of harm,
And protection of a future so universal
Should be anything but controversial.
So, earth, pale blue dot
We will fail you not.
Watch Gorman’s recitation of it above — you might get some goosebumps. (via eric holthaus)
Like many of you, I really enjoyed when NPR hosted Max Richter for a Tiny Desk Concert early in 2020, before the unpleasantness. Almost a year later, the composer is back with a Tiny Desk (Home) Concert. Recorded in spare black & white last summer, Richter plays six of his typically meditative pieces on a piano. Just set this going in the background and relax into your workday (or weekend, depending on your time zone). Enjoy.
The rhetorical highlight of the Biden/Harris inauguration was Amanda Gorman reciting her poem, The Hill We Climb — I thought it was fantastic. It begins:
When day comes we ask ourselves,
where can we find light in this never-ending shade?
The loss we carry,
a sea we must wade
We’ve braved the belly of the beast
We’ve learned that quiet isn’t always peace
And the norms and notions
of what just is
Isn’t always just-ice
And yet the dawn is ours
before we knew it
Somehow we do it
Somehow we’ve weathered and witnessed
a nation that isn’t broken
but simply unfinished
We the successors of a country and a time
Where a skinny Black girl
descended from slaves and raised by a single mother
can dream of becoming president
only to find herself reciting for one
Here’s a transcript courtesy of CNN. You can read about how Gorman composed the poem in the NY Times:
“I had this huge thing, probably one of the most important things I’ll ever do in my career,” she said in an interview. “It was like, if I try to climb this mountain all at once, I’m just going to pass out.”
Gorman managed to write a few lines a day and was about halfway through the poem on Jan. 6, when pro-Trump rioters stormed into the halls of Congress, some bearing weapons and Confederate flags. She stayed awake late into the night and finished the poem, adding verses about the apocalyptic scene that unfolded at the Capitol that day.
The Times also has a lesson for students about Gorman and her poem. And from NPR:
Gorman is no stranger to having to change her work midstream. Like Biden, who has spoken openly about having stuttered as a child, Gorman grew up with a childhood speech impediment of her own. She had difficulty saying certain letters of the alphabet — the letter R was especially tough — which caused her to have to constantly “self-edit and self-police.”
Her delivery was amazing — powerful and lyrical. Brava!
Update: I included a link to a transcript of the poem above. I also wanted to include this illustration by Samantha Dion Baker because art inspires art.
Update: A book version of Gorman’s inaugural poem will be out in April and is available for preorder.
Today beginning at 10am ET as part of the official inauguration festivities, Keke Palmer will host a special livestream geared toward kids (embedded above).
The livestream, hosted by award-winning entertainer and advocate Keke Palmer, will feature a special message from Dr. Jill Biden; commentary from historians Doris Kearns Goodwin and Erica Armstrong Dunbar; a segment on presidential pets produced by Nickelodeon; excerpts of student voices from PBS NewsHour Student Reporting Labs “We the Young People” programming; trivia questions, including some asked by Doug Emhoff; segments produced by the Library of Congress; and other special features.
This sounds way better than whatever the talking heads on CNN will be going on about. For more information on the inauguration, check out the official site.
Over the past several months, documentary filmmaker Kirby Ferguson has been making a series of videos about conspiracy theories, including This is Not a Conspiracy Theory, Trump, QAnon and The Return of Magic (which I posted about here), and Constantly Wrong: The Case Against Conspiracy Theories, as well as this analysis of the tactics of infowar. Just before the election, he made a video for the NY Times (embedded above): What Can You Do About QAnon?
In particular, Ferguson singles out humiliation by ridicule as something to avoid when attempting to bring QAnon supporters back to reality. Instead, he suggests staying in contact, sharing relevant information, asking questions, and being patient. But as Open Culture points out: “After the violence of January 6, however, it’s reasonable to ask whether we need something more than coddling and patience.” (via open culture)
This video from Matthew Cooke is an excellent and succinct plea for Republicans and Trump supporters to come back to reality.
This is a wake-up call for Republicans. America elected Joe Biden by over 7 million votes, and you’re confused because you didn’t see us flock to his rallies and cheer his smackdowns like we were at a pro wrestling event during a global pandemic. We don’t wear matching hats or have “no more malarkey” flags waving from the backs of our trucks. Do you know why? Because Biden is not our tribal warlord. We believe the job of a U.S. President is to represent more than one interest group. That’s why 81 million of us turned out to stop a narcissistic personality cult that embodies all seven of the deadly sins — most of all pride, which you’ve taken to levels of blasphemy, claiming your political leaders are handpicked by Jesus Christ.
This country is called the United States and we have multiple converging crises that need adult supervision but we are being distracted trying to get control over a critical mass of you who no longer believe in reality.
I don’t know if it will be persuasive to actual Republicans, but it’s a solid attempt.
In the hours after the January 6th terror attack on Congress, it seemed as though the early understanding was that a bunch of giddy goofballs — oops! — forced their way into the Capitol Building for funsies and photo ops. The stupid coup. As time passes and more photos & videos are released and reporting is done, the picture emerging is of a violent attack on members of Congress, their staff, and Capitol Police & other law enforcement officers by an armed & savage mob who narrowly missed assaulting, kidnapping, or even murdering members of Congress by mere minutes.
This is an account of the rioters’ siege of the Capitol Building from the perspective of the DC police. The terrorists likened their actions to those in 1776; it certainly was a war-like atmosphere:
“We weren’t battling 50 or 60 rioters in this tunnel,” he said in the first public account from D.C. police officers who fought to protect the Capitol during last week’s siege. “We were battling 15,000 people. It looked like a medieval battle scene.”
Someone in the crowd grabbed Fanone’s helmet, pulled him to the ground and dragged him on his stomach down a set of steps. At around the same time, police said, the crowd pulled a second officer down the stairs. Police said that chaotic and violent scene was captured in a video that would later spread widely on the Internet.
Rioters swarmed, battering the officers with metal pipes peeled from scaffolding and a pole with an American flag attached, police said. Both were struck with stun guns. Fanone suffered a mild heart attack and drifted in and out of consciousness.
All the while, the mob was chanting “U.S.A.” over and over and over again.
“We got one! We got one!” Fanone said he heard rioters shout. “Kill him with his own gun!”
This was a “coordinated assault”:
Looking over the chaotic scene in front of him from the Capitol steps, Glover grew concerned as the battle raged. There were people caught up in the moment, he said, doing things they would not ordinarily do. But many appeared to be on a mission, and they launched what he and the police chief described as a coordinated assault.
“Everything they did was in a military fashion,” Glover said, saying he witnessed rioters apparently using hand signs and waving flags to signal positions, and using what he described as “military formations.” They took high positions and talked over wireless communications.
Authorities would later learn that some former members of the military and off-duty police officers from across the country were in the pro-Trump crowd. Glover called it disturbing that off-duty police “would knowingly and intentionally come to the United States Capitol and engage in this riotous and criminal behavior against their brothers and sisters in uniform, who are upholding their oaths of office.”
Blue Lives Matter…until they have the gall to get in the way of what you feel entitled to:
“The zealotry of these people is absolutely unreal,” said Hodges, who suffered from a severe headache but otherwise emerged unhurt. “There were points where I thought it was possible I could either die or become seriously disfigured.”
Still, Hodges said, he did not want to turn to his gun.
“I didn’t want to be the guy who starts shooting, because I knew they had guns — we had been seizing guns all day,” he said. “And the only reason I could think of that they weren’t shooting us was they were waiting for us to shoot first. And if it became a firefight between a couple hundred officers and a couple thousand demonstrators, we would have lost.”
Two of the officers interviewed for this story spoke to CNN for this report:
Officer Michael Fanone found himself in the midst of the insurrectionists and then briefly shielded from harm by some of the rioters after shouting “I have kids”. He had this to say to those who protected him: “Thank you. But fuck you for being there.”
From Luke Mogelson in The New Yorker, Among the Insurrectionists is an amazing and surreal account of how the January 6th domestic terror assault on Congress1 unfolded. (Note: This piece contains accounts of violence and lots of racist, anti-Semitic, misogynist, homophobic language.)
The America Firsters and other invaders fanned out in search of lawmakers, breaking into offices and revelling in their own astounding impunity. “Nancy, I’m ho-ome! ” a man taunted, mimicking Jack Nicholson’s character in “The Shining.” Someone else yelled, “1776 — it’s now or never.” Around this time, Trump tweeted, “Mike Pence didn’t have the courage to do what should have been done to protect our Country. … USA demands the truth!” Twenty minutes later, Ashli Babbitt, a thirty-five-year-old woman from California, was fatally shot while climbing through a barricaded door that led to the Speaker’s lobby in the House chamber, where representatives were sheltering. The congresswoman Alexandria Ocasio-Cortez, a Democrat from New York, later said that she’d had a “close encounter” with rioters during which she thought she “was going to die.” Earlier that morning, another representative, Lauren Boebert — a newly elected Republican, from Colorado, who has praised QAnon and promised to wear her Glock in the Capitol — had tweeted, “Today is 1776.”
When Babbitt was shot, I was on the opposite side of the Capitol, where people were growing frustrated by the empty halls and offices.
“Where the fuck are they?”
“Where the fuck is Nancy?”
No one seemed quite sure how to proceed. “While we’re here, we might as well set up a government,” somebody suggested.
Notably, the piece places the insurrection in the proper context alongside Trump’s campaign of misinformation (which began even before his Presidency and has focused heavily on election fraud) and as part of an escalating series of actions by militant fascist groups in DC and around the country.
In the days before January 6th, calls for a “real solution” became progressively louder. Trump, by both amplifying these voices and consolidating his control over the Republican Party, conferred extraordinary influence on the most deranged and hateful elements of the American right. On December 20th, he retweeted a QAnon supporter who used the handle @cjtruth: “It was a rigged election but they were busted. Sting of the Century! Justice is coming!” A few weeks later, a barbarian with a spear was sitting in the Vice-President’s chair.
Cause, effect. Here are more instances, from various times during the past few months:
It was clear that the men outside Harry’s on December 12th had travelled to D.C. to engage in violence, and that they believed the President endorsed their doing so. Trump had made an appearance at the previous rally, waving through the window of his limousine; now I overheard a Proud Boy tell his comrade, “I wanna see Trump drive by and give us one of these.” He flashed an “O.K.” hand sign, which has become a gesture of allegiance among white supremacists. There would be no motorcade this time, but while Fuentes addressed the groypers Trump circled Freedom Plaza in Marine One, the Presidential helicopter.
…
During the Presidential campaign, Trump’s histrionic exaggerations of the threat posed by Antifa fuelled conservative support for the Proud Boys, allowing them to vastly expand their operations and recruitment. The day after a Presidential debate in which Trump told the Proud Boys to “stand back and stand by,” Lauren Witzke, a Republican Senate candidate in Delaware, publicly thanked the group for having provided her with “free security.”
…
Early returns showed Trump ahead in Michigan, but many absentee ballots had yet to be processed. Because Trump had relentlessly denigrated absentee voting throughout the campaign, in-person votes had been expected to skew his way. It was similarly unsurprising when his lead diminished after results arrived from Wayne County and other heavily Democratic jurisdictions. Nonetheless, shortly after midnight, Trump launched his post-election misinformation campaign: “We are up BIG, but they are trying to STEAL the Election.”
The next day, I found an angry mob outside the T.C.F. Center. Police officers guarded the doors. Most of the protesters had driven down from Macomb County, which is eighty per cent white and went for Trump in both 2016 and 2020. “We know what’s going on here,” one man told me. “They’re stuffing the ballot box.”
…
In April, in response to Whitmer’s aggressive public-health measures, Trump had tweeted, “Liberate Michigan!” Two weeks later, heavily armed militia members entered the state capitol, terrifying lawmakers.
…
During Trump’s speech on January 6th, he said, “The media is the biggest problem we have.” He went on, “It’s become the enemy of the people. … We gotta get them straightened out.” Several journalists were attacked during the siege. Men assaulted a Times photographer inside the Capitol, near the rotunda, as she screamed for help. After National Guard soldiers and federal agents finally arrived and expelled the Trump supporters, some members of the mob shifted their attention to television crews in a park on the east side of the building. Earlier, a man had accosted an Israeli journalist in the middle of a live broadcast, calling him a “lying Israeli” and telling him, “You are cattle today.” Now the Trump supporters surrounded teams from the Associated Press and other outlets, chasing off the reporters and smashing their equipment with bats and sticks.
Mogelson has reported on wars in Afghanistan and Syria — and now in America. You should read the whole thing.
Update: This is an incredible video companion to this article — videos shot by Mogelson during assault on Congress:
Sisters with Transistors (great title!) is a documentary film by Lisa Rovner about the overlooked female pioneers of electronic music.
The history of women has been a history of silence.
As one of the film’s subjects, Laurie Spiegel explains: “We women were especially drawn to electronic music when the possibility of a woman composing was in itself controversial. Electronics let us make music that could be heard by others without having to be taken seriously by the male dominated Establishment.”
The film’s subjects, which you can read about here, include Clara Rockmore, Daphne Oram, Bebe Barron, Pauline Oliveros, Delia Derbyshire, Maryanne Amacher, Eliane Radigue, Suzanne Ciani, and Laurie Spiegel. Oram, for example, was one of the founding members of BBC’s Radiophonic Workshop:
With many of her country’s men serving in the second World War, she began her career in radio broadcasting in the early ’40s. Galvanized by the ongoing developments in audio technology, she devoted much of her free time to exploring new ways to make sounds with electronics. One of the founding figures of the BBC’s Radiophonic Workshop, she was one of the earliest British composers to produce electronic sounds and compose from field recordings — Musique Concrete, the ancestry of today’s electronic music.
Sisters with Transistors has been playing at some online festivals but I couldn’t find any info about release dates or screenings in the US. Hopefully it will be out there soon? (via open culture)
Web performance and security company Cloudflare uses a wall of lava lamps to generate random numbers to help keep the internet secure. Random numbers generated by computers are often not exactly random, so what Cloudflare does is take photos of the lamps’ activities and uses the uncertainty of the lava blooping up and down to generate truly random numbers. Here’s a look at how the process works:
At Cloudflare, we have thousands of computers in data centers all around the world, and each one of these computers needs cryptographic randomness. Historically, they got that randomness using the default mechanism made available by the operating system that we run on them, Linux.
But being good cryptographers, we’re always trying to hedge our bets. We wanted a system to ensure that even if the default mechanism for acquiring randomness was flawed, we’d still be secure. That’s how we came up with LavaRand.
LavaRand is a system that uses lava lamps as a secondary source of randomness for our production servers. A wall of lava lamps in the lobby of our San Francisco office provides an unpredictable input to a camera aimed at the wall. A video feed from the camera is fed into a CSPRNG [cryptographically-secure pseudorandom number generator], and that CSPRNG provides a stream of random values that can be used as an extra source of randomness by our production servers. Since the flow of the “lava” in a lava lamp is very unpredictable, “measuring” the lamps by taking footage of them is a good way to obtain unpredictable randomness. Computers store images as very large numbers, so we can use them as the input to a CSPRNG just like any other number.
(via open culture)
This fun short film by Brett Novak features four skateboarders — Sara Watanabe, Ana Maria Suzano, Beatriz Gavelak, and Teresa Madeline — showing off their longboard dancing skills in Brazil.
The video showcases a style of riding where their wheels stay mostly on the ground, harkening back to skateboarding’s “history of freestyle flat-land skateboarding in the 70’s-80’s and the footwork that longboard surfers sometimes use”.
DJ Earworm has made a chronological mix of songs, one from each year from 1970 to 2020.1 The Jackson 5 flows into Rod Stewart, Def Leppard into Milli Vanilli, Eric Clapton into Chumbawamba into The Verve, Shakira into Rihanna, and Ed Sheeran into Justin Bieber. Go on then, take a ride.
I’ve shared this observation from Ira Glass about the gap between having good taste and doing good creative work before, but I ran across it the other day and thought it was worth highlighting again. Here’s a partial transcript (courtesy of James Clear):
Nobody tells this to people who are beginners, and I really wish somebody had told this to me.
All of us who do creative work, we get into it because we have good taste. But it’s like there is this gap. For the first couple years that you’re making stuff, what you’re making isn’t so good. It’s not that great. It’s trying to be good, it has ambition to be good, but it’s not that good.
But your taste, the thing that got you into the game, is still killer. And your taste is good enough that you can tell that what you’re making is kind of a disappointment to you. A lot of people never get past that phase. They quit.
Everybody I know who does interesting, creative work they went through years where they had really good taste and they could tell that what they were making wasn’t as good as they wanted it to be. They knew it fell short. Everybody goes through that.
And if you are just starting out or if you are still in this phase, you gotta know its normal and the most important thing you can do is do a lot of work. Do a huge volume of work. Put yourself on a deadline so that every week or every month you know you’re going to finish one story. It is only by going through a volume of work that you’re going to catch up and close that gap. And the work you’re making will be as good as your ambitions.
The full interview from which the video above is excerpted can be found here. Notably, Glass’s advice matches that of this parable from Art & Fear.
This handsome looking character is called the monkey slug caterpillar and its appearance has evolved to resemble a tarantula, which affords it protection from predators. This video was captured in the Ecuadorian rain forest by David Weiller; it’s a great example of mimicry. From Wikipedia:
In evolutionary biology, mimicry is an evolved resemblance between an organism and another object, often an organism of another species. Mimicry may evolve between different species, or between individuals of the same species. Often, mimicry functions to protect a species from predators, making it an antipredator adaptation. Mimicry evolves if a receiver (such as a predator) perceives the similarity between a mimic (the organism that has a resemblance) and a model (the organism it resembles) and as a result changes its behaviour in a way that provides a selective advantage to the mimic.
(via colossal)
The Beatles: Get Back, Peter Jackson’s documentary about the making of Let It Be, was delayed by the pandemic, so he and the studio have released a montage of about four minutes of the film as a sneak peek. The film, constructed from 55+ hours of largely unseen footage and 140 hours of audio recordings, seeks to portray the making of the band’s final studio album in a better light than previous accounts. The project has the support of Paul McCartney, Ringo Starr, Yoko Ono, and Olivia Harrison and will out in August 2021. (via ted gioia)
Update: The film has turned into a three-part series to be released on Disney+ in November.
The streamer explained that “because of the wealth of tremendous footage Jackson has reviewed, which he has spent the past three years restoring and editing, ‘The Beatles: Get Back’ will be presented as three separate episodes.” The installments will roll out November 25-27 and be approximately two hours in length each.
I enjoyed this holiday campaign ad from Public Inc. (It contains some salty language! It’s ok — kids are swearing more during the pandemic.)
I watched it twice, donated to the Mental Health Coalition as requested, and now I feel……. better? A little bit? (fuck you, adam lisagor!)
In this video, Kenton Whitman explains how to survive a fall through ice on a frozen lake or river.
The explanation could have been tighter and more engaging, but it gets really interesting around the 6:40 mark when Whitman ventures out onto some ice and falls through it to demonstrate the self-rescue technique (and he’s not wearing a wetsuit). Watching him relax to mitigate the cold shock response in realtime is spellbinding. His calmness really drives home that if you don’t panic and think clearly, you actually have a lot of time and energy to get yourself out of trouble. From the Four Phases of Cold Water Immersion:
While it varies with water temperature and body mass, it can take 30 minutes or more for most adults to become even mildly hypothermic in ice water. Knowing this is vitally important in a survival situation, since people would be far less likely to panic if they knew that hypothermia would not occur quickly and that they have some time to make good decisions and actions to save themselves.
Oh and don’t miss when Whitman gets back into the water so that you can see him climb out from another camera angle. Don’t try this at home, kids.
I’ve featured the work of choreographer Yoann Bourgeois on kottke.org before — his work gets performers moving on rotating stages and dropping onto trampolines. A 2019 performance choreographed by Bourgeois based on an unfinished Mozart piece sort of combines his previous performances, with dancers dropping into a slippery ramp that slides them onto a rotating platform.
As you might expect, getting gravity and centripetal force to play well together requires some experimentation — Bourgeois recently shared a rehearsal blooper where he catches one of his performers before they go whizzing off the stage into the orchestra.
You can watch more behind-the-scenes footage of this performance in this video:
** Goalkeeping definitely involves choreography.
For Design Ah by Daihei Shibata, Unendurable Line is a short film about sudden changes due to “thresholds hidden in everyday life”. The choral accompaniment to this is delightful.
See also Shibata’s Unexpected Outcome. If you’re in the US, you can watch 60 full episodes of Design Ah on THIRTEEN.
This video is three minutes and nine seconds of pure precision — welcome to the world of Japanese wood joinery. Carpenter Dylan Iwakuni wordlessly demonstrates taking two or more pieces of wood and (improbably, impossibly) making them one. Seriously, I am gobsmacked at how exactly these bits of wood fit together.
If you enjoyed that, you may want to check out another of Iwakuni’s videos, Making the “Impossible Joint”.
(via colossal & the kid should see this)
Newer posts
Older posts
Socials & More