This site is made possible by member support. 💞
Big thanks to Arcustech for hosting the site and offering amazing tech support.
When you buy through links on kottke.org, I may earn an affiliate commission. Thanks for supporting the site!
kottke.org. home of fine hypertext products since 1998.
Beloved by 86.47% of the web.
In a short film from 2011, you can see the shapes, curves, and outlines left by a ballet dancer as her arms, legs, and body move through the dance studio. This isn’t quite dancing about architecture, but maybe dancing about geometry?
Elon Musk says SpaceX is on target to send cargo to Mars in 2022 and people in 2024. The way the company will do it is by focusing its resources on a new vehicle, the Interplanetary Transport System (codename: the BFR). That vehicle will be able to travel to Mars, but can also be used to generate revenue for the company through launching satellites, resupplying the ISS, and going to the Moon.
Musk also proposed a variety of new uses for the scaled-down rocket beyond just going to Mars. Supposedly, the ITS can be used to launch satellites, take cargo to the International Space Station, and even do lunar missions to set up a Moon base. SpaceX’s current Falcon 9 fleet is used to do a few of those things already, but Musk says eventually the company will turn to the ITS to do all of its space missions.
“We can build a system that cannibalizes our own products, makes our own products redundant, then all the resources we use for Falcon Heavy and Dragon can be applied to one system,” he said at the conference. Musk says the cost of launching cargo on the ITS will be fairly cheap, too, since the rocket and spaceship will be a fully reusable system — unlike the Falcon 9, which is only 70 to 80 percent reusable.
Musk also astoundingly asserted that the same rocket system could be used for long-distance travel on Earth.
He ended his talk with a pretty incredible promise: using that same interplanetary rocket system for long distance travel on Earth. Musk showed a demonstration of the idea on stage, claiming that it will allow passengers to take “most long distance trips” in just 30 minutes, and go “anywhere on Earth in under an hour” for around the same price of an economy airline ticket.
As they say, “huge if true”. Musk is like the sci-fi Oprah here: You get a electric car! And you get a trip to Mars! And you get a self-driving car! And you get a 30-minute Hyperloop trip from SF to LA! And you get a rocket shuttle from NYC to Mumbai in 43 minutes for $1200! Beeeeeeeeees!!!!
Last night, Beyonce posted a video of her remix of J Balvin & Willy William’s song Mi Gente and she’s donating the proceeds to hurricane & earthquake relief efforts in Mexico, Puerto Rico, the Caribbean islands, and other affected areas.
As many have said on Twitter, nothing but respect for my President.
Sheryl Oh of Film School Rejects called the trailer for The Killing of a Sacred Deer “the most suspenseful thing you’ll see today, even if it’s only a minute and 9 seconds long” and I cannot improve upon that description. The film, directed by Yorgos Lanthimos (who directed and co-wrote the supremely weird The Lobster), will be out in late October.
As a young woman, Jane Goodall began a life-long study of wild chimpanzees that revolutionized our understanding of primate behavior. Jane, a documentary produced by National Geographic and directed by Brett Morgen (The Kids Stays in the Picture, Kurt Cobain: Montage of Heck), tells the story of Goodall’s life, especially her early forays into chimpanzee cultures in Tanzania. The backbone of the film is over 100 hours of 16mm footage that’s been locked away in the National Geographic archives for 50 years.
Philip Glass did the score and the early reviews are very positive. (thx, meg)
Having achieved spectacular success with Planet Earth II, the BBC and David Attenborough are revisiting another of their previous nature documentaries, the 2001 series The Blue Planet, “a comprehensive series on the natural history of the world’s oceans”. Blue Planet II, Attenborough promises, will use new technology and our increased understanding of the natural world to great advantage in telling the story of the animal and plant life — dancing yeti crabs! dolphins spitting to trick prey! TurtleCam! — that dwells in our oceans.
The score is by Hans Zimmer, who also collaborated with Radiohead to rework an old song of theirs for the series. Bloom, off of King of Limbs, was originally inspired by the first Blue Planet series, so it’s come full circle with its inclusion in the new series. Vox examines how Zimmer and the band adapted the song:
If you listen closely enough to Radiohead and Hans Zimmer’s rework of “Bloom” for Blue Planet II, you can hear a really fascinating orchestral trick at work. They call it the “tidal orchestra” — it’s a musical effect created by instructing each player to play their notes only if the person next to them isn’t playing. The result is a randomly swelling and fading musical bed for the entire series that captures the feeling of ocean waves. It’s a captivating way to score a soundtrack for the ocean — but it also fits in with a long history of capturing randomness in music composition.
The “tidal orchestra” technique was inspired by pointillism and randomness: using small individual sounds to build a soundscape rather than starting with a specific tune. For some reason, it also reminds me of Sol LeWitt’s Wall Drawing 797. (No idea what inspired Yorke’s pants though. MC Hammer? Wow.)
Planet Earth II was probably my favorite movie/show/media from the past year, so I am really looking forward to Blue Planet II.
If you want to get up to speed about the growing humanitarian crisis in Myanmar involving the government’s long campaign against the Rohingya people, this 5-minute Vox video is a good place to start.
In what has quickly disintegrated into a humanitarian disaster of historic proportions, a staggering 400,000 Rohingya Muslims have fled from Myanmar’s northern Rakhine state to Bangladesh over the past three weeks alone. At least 240,000 of them are children.
The Rohingya are fleeing a campaign of indiscriminate violence by Myanmar’s military, whose tactics are being widely condemned as a form of ethnic cleansing.
Entire villages have been burned to the ground. Women have been raped. Rohingya refugees report that soldiers shot at them as they fled. Along the border with Bangladesh, there are reports that the military has laid land mines to ensure those fleeing won’t return. Though independent observers have no access to the region, the Myanmar government now says 175 villages in the region — 30 percent of all Rohingya villages — are empty.
Late last week, Donald Trump called any NFL player who kneels during the national anthem protesting police brutality a “son of a bitch” (recall that this is the President of the United States we’re talking about here) and said they should be fired (Ha! He said his catchphrase! From that TV show!). Naturally, NFL players took exception to this and over the weekend, many many more players kneeled, sat, or no-showed during the anthem. And there were many takes, from political commentators and sports journalists alike. One of the best was from Dallas sports anchor Dale Hansen, who deftly cut to the core of the matter in a short monologue:
Donald Trump has said he supports a peaceful protest because it’s an American’s right… But not this protest, and there’s the problem: The opinion that any protest you don’t agree with is a protest that should be stopped.
Martin Luther King should have marched across a different bridge. Young, black Americans should have gone to a different college and found a different lunch counter. And college kids in the 60’s had no right to protest an immoral war.
I served in the military during the Vietnam War… and my foot hurt, too. But I served anyway.
My best friend in high school was killed in Vietnam. Carroll Meir will be 18 years old forever. And he did not die so that you can decide who is a patriot and who loves America more.
The young, black athletes are not disrespecting America or the military by taking a knee during the anthem. They are respecting the best thing about America. It’s a dog whistle to the racists among us to say otherwise.
They, and all of us, should protest how black Americans are treated in this country. And if you don’t think white privilege is a fact, you don’t understand America.
Here’s a text transcript…it’s worth reading or watching. See also Bob Costas’ interview on CNN and Shannon Sharpe’s comments.
I haven’t had a chance to watch the new Star Trek series yet. The early reviews are good, but the opening credit sequence is really good.
Cuts in film and television are so normal now that it’s absurd to think of them as optical illusions. But they are. Adapted from an essay by psychology professor Jeffrey Zacks, this video examines how the human brain dealt with the novel mechanism of film cuts at the turn of the last century.
Before the emergence and rapid proliferation of film editing at the dawn of the 20th century, humans had never been exposed to anything quite like film cuts: quick flashes of images as people, objects and entire settings changed in an instant. But rather than reacting with confusion to edits, early filmgoers lined up in droves to spend their money at the cinema, turning film — and eventually its close cousin, television — into the century’s defining media. It would seem that our evolutionary history did very little to prepare us for film cuts — so why don’t our brains explode when we watch movies?
The answer lies with the limitations of our visual systems and how much work our brain does in providing us with the illusion of an endlessly panning “reality”.
For more visual tricks brought on by technological innovation, see also a bird magically floats because of a camera frame rate trick and a magically levitating helicopter, courtesy of a camera frame rate trick.
Comedian Don Rickles died earlier this year. For his last project, he sat down to dine with more than a dozen comedians, actors, and directors, who interviewed the comedy legend in a series of videos for AARP. Don’s dining companions include Marisa Tomei, Sarah Silverman, Zach Galifianakis, and Martin Scorsese. I’ve embedded two of the videos: Vince Vaughn and Snoop Dogg. In the Snoop video, Rickles and Snoop compare notes on freestyling and they show a 1978 clip of Rickles roasting Orson Welles:
Orson Welles…30 years ago you were handsome and now we’re going to put “Goodyear” on your face and fly you over the beach for a half hour.
I was laughing just as hard as Welles was in the clip.
Early next month, HBO will premiere a 2.5-hour-long documentary on the life and career of Steven Spielberg, a director who has arguably shaped how movies are made today more than any other single person. Director Susan Lacy, creator of American Masters PBS series, interviewed Spielberg for 30 hours for the documentary (in addition to talking to nearly everyone he’s worked with in his 50-year career). Really looking forward to this.
Score is a feature-length documentary film about the music in movies.
This celebratory documentary takes viewers inside the studios and recording sessions of Hollywood’s most influential composers to give a privileged look inside the musical challenges and creative secrecy of a truly international music genre: the film score.
Looking at the list of people they interviewed for the film (Hans Zimmer, John Williams, Quincy Jones, Mark Mothersbaugh, etc.), it’s apparent that women composers get about as much work in Hollywood as do women directors. The movie’s gotten good reviews though and is currently available on Amazon and iTunes. (via @veganstraightedge)
If you take a bin full of sand and blow air up through the bottom of it, the sand behaves like a liquid. The bubbles were freaky enough when I watched this for the first time, but when the guy reached in to submerge the ball and it buoyantly popped right to the surface, my brain broke a little bit. This video from The Royal Institution explains what’s going on:
Note that this is a different effect than non-Newtonian liquids (which are also very cool).
Update: Mark Rober made a hot tub-sized fluidized air bed:
Here’s the first real look at Wes Anderson’s new stop motion animated movie, Isle of Dogs, out in March 2018.
Isle of Dogs tells the story of Atari Kobayashi, 12-year-old ward to corrupt Mayor Kobayashi. When, by Executive Decree, all the canine pets of Megasaki City are exiled to a vast garbage-dump called Trash Island, Atari sets off alone in a miniature Junior-Turbo Prop and flies across the river in search of his bodyguard-dog, Spots. There, with the assistance of a pack of newly-found mongrel friends, he begins an epic journey that will decide the fate and future of the entire Prefecture.
Prediction: Anderson is going to get some criticism on the cultural context of this movie. (via trailer town)
In the 1990s, futurist and AI researcher Hans Moravec suggested that our Universe might be a simulation.
Assuming the artificial intelligences now have truly overwhelming processing power, they should be able to reconstruct human society in every detail by tracing atomic events backward in time. “It will cost them very little to preserve us this way,” he points out. “They will, in fact, be able to re-create a model of our entire civilization, with everything and everyone in it, down to the atomic level, simulating our atoms with machinery that’s vastly subatomic. Also,” he says with amusement, “they’ll be able to use data compression to remove the redundant stuff that isn’t important.”
But by this logic, our current “reality” could be nothing more than a simulation produced by information entities.
“Of course.” Moravec shrugs and waves his hand as if the idea is too obvious. “In fact, the robots will re-create us any number of times, whereas the original version of our world exists, at most, only once. Therefore, statistically speaking, it’s much more likely we’re living in a vast simulation than in the original version. To me, the whole concept of reality is rather absurd. But while you’re inside the scenario, you can’t help but play by the rules. So we might as well pretend this is real - even though the chance things are as they seem is essentially negligible.”
And so, according to Hans Moravec, the human race is almost certainly extinct, while the world around us is just an advanced version of SimCity.
In 2003, philosopher Nick Bostrom examined the matter more closely:
This paper argues that at least one of the following propositions is true: (1) the human species is very likely to go extinct before reaching a “posthuman” stage; (2) any posthuman civilization is extremely unlikely to run a significant number of simulations of their evolutionary history (or variations thereof); (3) we are almost certainly living in a computer simulation. It follows that the belief that there is a significant chance that we will one day become posthumans who run ancestor-simulations is false, unless we are currently living in a simulation.
In the above (as well as in this follow-up video by Vsauce 3), Kurzgesagt explores these ideas and their implications. Here’s the one that always gets me: If simulations are possible, there are probably a lot of them, which means the chances that we’re inside one of them is high. Like, if there’s one real Universe and 17 quadrillion simulated universes, you’re almost certainly in one of the simulations.
Ridley Scott’s favorite scene in Blade Runner is when Deckard meets Rachel in Tyrell’s office. In this video, he breaks the scene down and highlights some of the most interesting aspects of the production.
In all my films, I’ve been accused of being too visual, too pretty, and I’m going, well, we are dealing in pictures so how can I be too visual?
Master sushi chefs in Japan spend years honing their skills in making rice, selecting and slicing fish, and other techniques. Expert chefs even form the sushi pieces in a different way than a novice does, resulting in a cohesive bite that doesn’t feel all mushed together. In this short video clip from a longer Japanology episode on sushi, they put pieces of sushi prepared by a novice and a master through a series of tests — a wind tunnel, a pressure test, and an MRI scan — to see just how different their techniques are. It sounds ridiculous and goofy (and it is!) but the results are actually interesting.
This video by Nukazooka of Grand Theft Auto being played by Lego characters is uncommonly well done. It looks more or less like the Lego Movie but made with a fraction of the budget.
Off-topic, but on their Twitter account I also discovered this cool 5-second video illustrating how air moves due to a passing semi truck. I can’t stop watching this!!
At the first movie studio in the US, Thomas Edison filmed cat videos, which are also popular on social media now.
In the NY Times, Amanda Hess writes about the parallels between the type of video that works well on social media these days and silent films from the first part of the last century.
All of that has given rise to a particular kind of video spectacle on social media, one that is able to convey its charms without dialogue, narrative or much additional context. To entertain soundlessly, viral video makers are reanimating some of the same techniques that ruled silent film over 100 years ago. “For coincidental reasons as much as knowing reasons, we’ve seen a rebirth of a very image-forward mode of communication,” said James Leo Cahill, a professor of cinema studies at the University of Toronto. Among its hallmarks: a focus on spectacle, shocking images and tricks; the capture of unexpected moments in instantly recognizable scenarios; an interplay between text and image; and a spotlight on baby and animal stars.
The very first short-form cinematic experiments — silent clips that arose even before film evolved into a feature-length narrative form in the early 20th century — have become known as what film scholar Tom Gunning calls the “cinema of attraction,” films that worked by achieving a kind of sensual or physiological effect instead of telling a story.
Created by early filmmakers like the French brothers Auguste and Louis Lumière and the American inventor Thomas Edison, these early movies took cues from the circus and the vaudeville circuit, featuring performers from that world, and were then played at vaudeville shows. Taken together, they formed what Gunning has called an “illogical succession of performances.”
Social media has created a new kind of variety show, where short, unrelated videos cascade down our feeds one after another. If early films were short by necessity — the earliest reels allowed for just seconds of film - modern videos are pared down to suit our attention spans and data plans.
For Vox, Phil Edwards profiled The Black List, an annual listing of the best Hollywood scripts that have yet to be produced.
Phil Edwards has a chat with Franklin Leonard, the creator of The Black List, Hollywoods’ famous anonymous survey of unproduced screenplays. The Black List isn’t a guarantee that a script will be produced, however, it does give overlooked scripts a second shot of getting on the big screen. A handful of academy award- winning-films found their second chance on the Black List. And in an industry brimming with multi-year contracted sequels, and well-established franchises, the Black List survey has become one of the few places in Tinseltown where one-off scripts have a chance to make it to the big screen.
Scripts that have gone on to be made into movies include Spotlight, Argo, Slumdog Millionaire, Juno, and a Mel Gibson talking beaver movie I’d never even heard of.
66-year-old William Reed was born colorblind. For his birthday, his family bought him a pair of Enchroma sunglasses, which allows wearers with red-green colorblindness to see colors. His reaction when he puts the glasses on for the first time is something else, especially when you consider how grumpy and curmudgeonly he starts out. I lost it when he started rubbing and clapping his hands together and waving his arms…he is feeling all of the feels right there.
Update: Here’s a nice video explanation of colorblindness and how those glasses work for some people.
(thx, david)
Jeffrey Tsang is a sailor on a cargo ship. On a recent voyage from the Red Sea to Sri Lanka to Singapore to Hong Kong, he set up a camera facing the bow of the ship to record the month-long journey. From ~80,000 photos taken, he constructed a 10-minute time lapse that somehow manages to be both meditative and informative. You get to see cargo operations at a few different ports, sunrises, thunderstorms, and the clearest night skies you’ve ever seen. Highly recommended viewing. (via colossal)
Contemporary rap music has come to be dominated by a style called the “Migos flow” (after the group Migos, who made the style famous in a song called Versace). This video looks at where the style originated and why it’s become so popular.
If you couldn’t tell, I’m loving these music-deconstruction videos by Estelle Caswell (the most recent ones are part of a Vox series called Earworm), especially the ones about rap & hip-hop because a) I am listening to more and more of it and know relatively little about it, and b) the more I learn, the more I feel that the people making this music are/were goddamn geniuses.
P.S. Caswell made a playlist of songs that use the triplet flow.
P.P.S. Here’s Migos rapping the children’s book Llama Llama Red Pajama over the beat of Bad and Boujee:
In a new video, Evan Puschak explores the comedy of Norm MacDonald. Even if you don’t care for MacDonald’s work, you may come away from this with more respect for his comedy and craft. Me? I can’t even tell if MacDonald is funny anymore…I hear that deadpan-but-smiling voice and I just start to laugh in a purely Pavlovian way.
In the Upper Midwest, particularly in Minnesota and the northern part of Wisconsin (where I’m originally from), there’s a tendency to never say exactly what you’re thinking. Which, dontcha know, can lead to some misunderstandings when communicating with people who didn’t grow up in the area. This short video, taken from a longer documentary on How to Talk Minnesotan, demonstrates how a Minnesotan speaker uses negative words (e.g. bad, not, can’t, worse) to express positive feelings. For example, a translation of the phrase “I’m so excited, I can’t believe it!!” into Minnesotan yields:
A guy could almost be happy today if he wasn’t careful.
What’s that? You want to see Radiohead frontman Thom Yorke riding in an elevator accompanied by a revolving cast of odd people getting on and off at even stranger floors of an apartment building? Ok, here you go. The song is fan-favorite Lift, which was first recorded in the late 90s but not officially released until this year on OK Computer OKNOTOK 1997 2017. The video contains a few Easter eggs for hardcode fans, including some cameos:
Perhaps some of Radiohead’s notoriously devoted fans will recognize Thom Yorke’s girlfriend, Italian actress Dajana Roncione, in the opening of the band’s new music video for “Lift.” Accompanying her, and pushing all of the buttons on the lift, is Yorke’s daughter Agnes.
Now that SpaceX has successfully landed their reusable orbital rocket booster a number of times, they can look back with humor in this blooper reel of their somewhat less successful early efforts. New technology always requires trial and error (and error and error)…just ask NASA and the US government testing rockets back in the earlier days of the space program:
Director Alexander Payne (Election, Sideways) is coming out with his latest film in December. Downsizing, which stars Kristin Wiig, Matt Damon, and Christoph Waltz, is about a world where humans are able to shrink themselves down to five inches tall.
When scientists discover how to shrink humans to five inches tall as a solution to over-population, Paul (Matt Damon) and his wife Audrey (Kristen Wiig) decide to abandon their stressed lives in order to get small and move to a new downsized community — a choice that triggers life-changing adventures.
I’ve been waiting on this one since posting about nano sapiens last year:
When humans get smaller, the world and its resources get bigger. We’d live in smaller houses, drive smaller cars that use less gas, eat less food, etc. It wouldn’t even take much to realize gains from a Honey, I Shrunk Humanity scheme: because of scaling laws, a height/weight proportional human maxing out at 3 feet tall would not use half the resources of a 6-foot human but would use somewhere between 1/4 and 1/8 of the resources, depending on whether the resource varied with volume or surface area. Six-inch-tall humans would potentially use 1728 times fewer resources.
I’m sure the movie skews more toward a generic fish-out-of-water tale rather than addressing the particular pros and cons of shrinking people down to the size of hamsters (e.g. cutting human life span by orders of magnitude), but I will still be first in line to see this one.
In a multi-part series, ScreenPrism will be looking at the codes and values of some of the main characters in The Wire. The first installment is about Jimmy McNulty, who is “good po-lice” but also doesn’t always take personal responsibility for his actions (“what the fuck did I do?”).
Socials & More