Stop motion cooking tutorials by Omozoc transform sporting goods and electronics into unconventional meals
A baseball glove becomes the bun of a strangely enticing hot dog, while a cracked-open computer mouse makes an unusual batch of scrambled eggs on the top of an open copy machine.
Two significant anniversaries last week. Let’s start in northern France, with some staggering numbers.
13 memorable facts about D-Day
D-Day was the opening chapter in a long campaign. The Normandy invasion was not a one-day affair; it raged on until Allied forces crossed the River Seine in August. Altogether, the Allies took about 200,000 casualties over the course of the campaign—including 4413 deaths on D-Day alone. According to the D-Day Center, “No reliable figures exist for the German losses, but it is estimated that around 200,000 were killed or wounded with approximately 200,000 more taken prisoner.” On May 7, 1945—less than a year after D-Day—Germany surrendered, ending the war in its European Theater.
Some of these images really get across the scale of that operation.
Photos: Take a look at D-Day, then and now
The 75th anniversary of the D-Day landings will fall on June 6. Here, we take a look back at iconic images of the day and at modern photos related to the day’s events.
It all looks very different now.
11 incredible D-Day Landing pictures that show the beaches then and now
The following pictures combine original photos taken on and around D-Day with others taken in 2014 and show holidaymakers in the sun, largely oblivious to the horror that took place where they stood over 70 years ago.
And for a different, but very direct, perspective of events that day, you must take a look at these scanned documents.
Bletchley Park and D-Day
A rare collection of Enigma messages sent on D-Day by the German navy, and broken at Bletchley Park, gives a blow-by-blow account of the action. As events unfold, confusion gives way to a realisation of the scale and importance of the invasion. Intelligence from Bletchley Park played a crucial part in the operation’s planning and execution.
The D-Day commemoration coincided with Trump’s state visit. I loved the language in this view of that from across the Atlantic.
We are being embarrassed by ugly-American grifters on an ego trip to London
Referring to “the red-carpet treatment” accorded to Donald Trump and the ignominious confederacy of unindicted co-conspirators that accompanied him to London, the city’s mayor remarked, “In years to come, I suspect this state visit will be one we look back on with profound regret and acknowledge that we were on the wrong side of history.” Why wait? As an American, I’m already regretting the spectacle of the Trumps tweeting pictures of themselves stumbling around Buckingham Palace. It’s not just that, as a republican, I have no taste for the pomp and circumstance that surrounds the British royal family. It is not even that Trumps are so obviously enthralled by imperial excess.
What I have a problem with is the notion that the United States of America is being “represented” on the global stage by an ugly-American cabal of black hats in ill-fitting tuxedos. Mehdi Hasan got it brilliantly right when he said of the president’s decampment to the United Kingdom: “He’s taken four of his five kids with him, his four grifter kids with him to Buckingham Palace. They’ve been posting pictures all night on Twitter of themselves. They’re all loving it. It’s a great day for the whole grifter family.”
The other anniversary, of course, was in China.
Beijing falls silent as tight security surrounds Tiananmen Square anniversary
Thirty years after bloody crackdown in China, visitors have IDs checked and journalists are warned against taking pictures.
In the UK and elsewhere, reminders of what happened, like this one from The Guardian ten years ago, are so easy to find.
20th anniversary of Tiananmen Square: how events unfolded
Revisiting the protests, from the beginning of the student uprising to the brutal crushing of dissent by the Chinese regime.
That’s obviously not the case in China.
A look at the many ways China suppresses online discourse about the Tiananmen Square protests
Suppression of information means that an entire generation of people know little about the events, even as the activists involved continue to suffer repercussions, including long prison sentences. In recent years, the government’s censorship apparatus has become even more powerful, with voice and image recognition and machine learning making it easier to block or remove posts at scale.
Jiayang Fan, writing in The New Yorker, was four in 1989.
Memories of Tiananmen Square
I had left China when I was too young to know about censorship, when I was just being introduced to the written word and to the stories that written words told. It would never have occurred to me, or, perhaps, to any child, to question the history books, because that would have seemed like an interrogation of reality itself. In China, the past is never past, but it is frequently purged. The story is rewritten, the narrative reframed, the villains and the heroes recast. There is a hallucinatory quality to such a society, as if you are living a life that does not and never can fully belong to you. China’s vertiginous economic growth during the last three decades, for example, has given people permission to pursue prosperity without ever granting them political autonomy, reducing them to children at the mercy of an irascible, paternalistic government.
Ilaria Maria Sala was an exchange student in Beijing at the time, just a couple of years older than me then.
The very last spring all things seemed possible in Beijing
People handed me spent bullets and bloodied items, wanting me to go back home and tell the world what the army had done. I told them that people knew, every journalist was in Beijing. I was evacuated by the British Embassy to Hong Kong in the early hours of June 7, and returned home to Italy. As soon as I could, at the end of August, I went back to Beijing again, to study, to look for friends, to try to understand what had happened.
Her story continues.
Beijing Autumn: My return to China three months after Tiananmen
Beishida felt too desolate, so I transferred to Peking University, where all the few returning foreign students seemed to have congregated. But as the students there were those most involved in the demonstrations, the authorities decided to suspend the first year, and send all the freshmen to the army instead. The notice-boards at Sanjiaodi, where the political posters had been hoisted just a few months before, where the international TV crews had filmed the students keeping up-to-date with the strike and its developments, where impromptu speeches had been given, was now a deserted triangle dotted with forlorn little posters advertising English classes, chess tournaments, and qigong demonstrations.
I’ve always thought of libraries as places that have existed forever, like cemeteries, or shoe shops — they’re just a necessary part of a normal society, right? (It’s thought the Library of Alexandria was founded as long ago as 285 BC, though its current incarnation is only 16 years old and closes at 4 pm today.)
But libraries haven’t always been around for everybody.
A history of the American public library
CityLab’s visual storyteller Ariel Aberg-Riger shares the story of how America’s public libraries came to be, and their uneven history of serving all who need them.
That’s all a world away from the history of libraries over here, in our grand stately piles.
What was the real purpose of the English country house library?
In Mark Purcell’s all-encompassing study, The Country House Library, every aspect of this topic is researched and addressed on an epic, Girouardian scale. Whereas architectural and art historians are often uninterested in the actual books found in historic architect-designed libraries, Purcell argues it is impossible to separate them from a consideration of situation, appearance and design. Demolishing the commonplace belief that volumes were “bought by the yard”, he offers an opportunity for historians to think afresh about the way collections were read and valued within the elusive confines of the country house library.
A gripping chapter covers the early 19th-century bibliomania that culminated in the great sale of the Third Duke of Roxburghe’s library in June 1812, described as a chivalric tournament between Earl Spencer, the Marquess of Blandford and the Sixth Duke of Devonshire. Purcell gives an excellent account of the arc of sales reflecting the decline in the fortunes of the landowning classes after the late 1880s. In 1966, Shane Leslie wrote in his memoirs, Long Shadows: “The empty shelves at Blenheim, Sledmere and Althorp gave me the ghastly gasp as coffins and vaults ravaged by body-snatchers.”
Here’s an idea of how to make more use of our present-day libraries.
How to be a library archive tourist
When I’m traveling and am at a loss for how to spend my time, I look up as many libraries I can in the area I’ll be traveling to, and I check to see if they have special collections. Then I make an appointment with the library to visit those special collections, and usually it means I get to spend a day in a quiet, climate-controlled room with cool old documents. It’s like a museum but with no people, and where you have to do all the work, which is honestly my idea of a perfect vacation.
But what of the future? As this high-tech university library shows (designed, coincidentally, by Snøhetta, the Norwegian architecture firm behind the Bibliotheca Alexandrina in Egypt), those old values of accessibility are still key.
A robot-filled, architectural marvel in North Carolina is the library of the future
Public libraries remain a critical public resource, but as budgets have been slashed and information digitized over the last several decades, many have been forced to adapt from book-storage rooms to high-tech public spaces. Indeed, libraries in urban areas remain an important space for those residents with limited incomes, education, and access to resources. By reimagining the relationship between information and technology and how humans interact with both, Hunt’s designers created a unique space in which the community can learn, create, or simply gather.
“Whether or not you’re talking about a library focused on digital technology or on books or papyri, as the ancient libraries were, the most important thing is to make a library open and accessible,” he adds, noting that books weren’t invented until centuries after the first libraries came about. “[Libraries] had museums, they had lounges, they were interactive and in a very vibrant way,” he says, “more like libraries of the future.”
And yes, I know this is a bookshop and not a library, but you must check it out.
Mirrored Chinese bookstore offers readers a maze of discovery
The newest of China’s surreal mirrored bookstores is now open in Chongqing, offering a disorienting, Escher-like experience to all who enter. Designed by X+Living, the Chongqing Zhongshuge Bookstore leads visitors through an unassuming glass facade on the third floor of Zodi Plaza and into a reflective maze full of reading materials waiting to be discovered.
Anyone else seeing Daleks there?
More videos — from the sublime to the ridiculous.
There’s a scarily good ‘deepfakes’ YouTube channel that’s quietly growing – and it’s freaking everyone out
Russian researchers hit the headlines last week by reanimating oil-painted portraits and photos into talking heads using AI. Now, here’s another reminder that the tools to craft deepfakes are widely available for just about anyone with the right skills to use: the manipulated videos posted on YouTuber Ctrl Shift Face are particularly creepy.
The transitions are especially smooth in another clip, with a comedian dipping in and out of impressions of Al Pacino and Arnold Schwarzenegger, and there are now clips from Terminator with Stallone which look very peculiar.
Here’s that earlier article and video mentioned above, about reanimating oil paintings.
AI can now animate the Mona Lisa’s face or any other portrait you give it. We’re not sure we’re happy with this reality
There have been lots of similar projects so the idea isn’t particularly novel. But what’s intriguing in this paper, hosted by arXiv, is that the system doesn’t require tons of training examples and seems to work after seeing an image just once. That’s why it works with paintings like the Mona Lisa.
I sit and stare at Excel for a significant proportion of my day. I can’t believe I’ve not been aware of this simple trick with copying formulas without messing up cell references. It’s saving me an immense amount of time.
Copy Excel formula without changing cell references (or without file references)
It’s quite simple actually!
- Highlight the are you’d like to copy
- Go to Home / Find & Select / Replace (or press Ctrl + H)
- Search for = and replace with a text that’s not in your file – in this example I chose “notinfile” (note as mentioned in the comments in YouTube, you can also replace with ” =”, i.e. a space before the equal sign)
- Go back to Home / Find & Select / Replace (or press Ctrl + H) – search for your text – in my example “notinfile” and replace with =.
- That’s it!
Here are a few more tips and tricks.
10 easy Excel timesavers you might have forgotten
Microsoft has packed Excel with all kinds of different ways to get things done quicker. However, you can’t take advantage of these features if you don’t know about them. These ten techniques may only save you a few seconds every time you use them. That might not sound like much, but if you can integrate them into your workflow, you’re sure to reap the benefits over time.
Technology, software, media — none of it stands still. Here’s something that’s been getting a lot of attention from the latest Apple updates.
The rise and fall of iTunes, Apple’s most hated app
The success of iTunes cannot be overstated; it outlived pretty much every other consumer-focused piece of software from its time (here’s to you, Winamp). Windows 10 users would search for iTunes so much in the Windows Store that Microsoft eventually convinced Apple to bring it to the store last year. Over the years, however, Apple’s original philosophy of providing a one-stop shop for all your media became iTunes’ greatest undoing by saddling the app with more and more baggage that’s eaten away at its usability. The world has moved on as ubiquitous connectivity, cloud storage, and streaming media became the norm. iTunes is still around as a legacy app for those who need it. But for everyone else, iTunes is now officially a thing of the past.
I’ve moved away from Apple things now, but back in the day iTunes was such a large part of it all for me, so it was nice to see a screenshot of the old version alongside its less familiar new look.
Winamp gets a mention there, which reminded me of this bookmark I’d kept from last year.
Winamp is coming back as an all-in-one music player
First released in 1997, Winamp was a popular freeware media player famous for its utilitarian music playback and its wealth of incredible community-made skins. It was acquired by AOL in 2002, then sold to Radionomy in 2014. The last time Winamp was updated was in 2013, so news that a revival is coming should be welcomed by longtime fans of the app.
Those were the days. We shouldn’t live in the past, though, should we? But before we say goodbye to all that, let me point you to this again.
Some remarkably simple and effective sculptural installations from Kumi Yamashita.
Light & Shadow
I sculpt using both light and shadow. I construct single or multiple objects and place them in relation to a single light source. The complete artwork is therefore comprised of both the material (the solid objects) and the immaterial (the light or shadow).
Before photography, the silhouette helped leave an impression
The four contemporary artists represented in the exhibition amplify the dualistic sense of technology and the occult seen in the 19th-century work. The most stunning of the works are by Kumi Yamashita, who conjures convincing shadow images using light and gently folded pieces of origami paper, or the carefully carved edge of a chair, or letter and number forms glued on the wall. The shadows give the uncanny suggestion of a living being, while they in fact are ensorcelled from inanimate material.
Celebrating the rough, the raw and the human in hardcore space science
Images of space and the solar system have a powerful appeal, and amaze with their vibrant otherworldly vistas. But it’s easy to forget just how processed they are: the colours are often added for effect, and digital editing makes these pictures pop. So it’s worth remembering the human process behind space as we know it. This is precisely the aim of Black Rain, which transforms raw scientific data into pulsating audiovisual art. … Ruth Jarman and Joe Gerhardt – aka Semiconductor, the UK artist duo behind the video – say the images are a reminder of ‘the human observer, who endeavours to extend our perceptions and knowledge through technological innovation’.
A few more videos in keeping with that grainy, black and white vibe.
(And yes, I know that I’ve linked to that Universe video before. It’s too good to only show once.)
Earlier this year I linked to research from Ofcom on children’s use of technology and media. Here’s their report on the rest of us.
Adults’ media use and attitudes – Ofcom
The annual adults’ media use and attitudes report provides research that looks at media use, attitudes and understanding, and how these change over time. The report also includes a particular focus on those who tend not to participate digitally.
• Mobile phones are increasingly integral to everyday life and half of adults now say, of all devices, they would miss their mobile phone the most.
• One in three adults never use a computer to go online and one in ten only use a smartphone, an increase since 2017.
• Video-on-demand and streamed content is becoming a central part of adults’ viewing landscape.
• Social media users are less likely than in 2017 to see views they disagree with on social media.
• Compared to 2017, internet users are more likely to have encountered hateful content online, however most didn’t do anything about it.
• Although most internet users are aware of at least one of the ways in which their personal data might be collected online, less than four in ten are aware of all the ways we asked about.
• There has been little change in critical awareness in the past few years, with many still lacking the critical skills needed to identify when they are being advertised to online.
• One in ten internet users say they don’t think about the truthfulness of online content, although those who do are more likely than in 2017 to make checks to verify the information.
• Thirteen percent of UK adults do not use the internet, unchanged since 2014; those aged 55 and over and in the DE socio-economic group remain less likely to be online.
• One in seven adults of working age in DE households do not go online, and when they do, one in five only go online via a smartphone.
Yes, our little cocker spaniel puppy brings us lots of joy. But plenty of stress, too, it has to be said. “She’s just a puppy, she’ll grow out of that”, I’m forever being told… Some people seem to take to dog ownership easier than others. But why? Here’s something to add to the on-going nature/nurture debate.
Our love for dogs may be coded in our DNA
While this kind of twin study can’t tell us exactly which genes are involved, they do demonstrate for the first time that genetics and environment play about equal roles in determining dog ownership. The lead author Tove Fall commented, “We were surprised to see that a person’s genetic makeup appears to be a significant influence in whether they own a dog.” She then went on to suggest that some genetically determined personality factors might underlie this when she speculated, “Perhaps some people have a higher innate propensity to care for a pet than others.”
This is the type of art criticism I can get behind.
Ranked: 10 paintings of Judith beheading Holofernes
Today in Current Affairs, we examine an urgent and timely topic: Judith’s beheading of Holofernes! This story comes to us from the Book of Judith, a biblical text about the attempted conquest of Israel by the Assyrians. Judith is a Jewish widow who ingratiates herself with the invading general Holofernes, waits for him to fall asleep, and then hacks his head off and takes it home with her (thus thwarting the entire invasion, because the Assyrians evidently had no Plan B if Holofernes was killed. Solid military strategy, Assyrians.)
2. Caravaggio, c. 1598-1599
Lyta: This one is pretty and famous but I am not feeling it
it’s the Blake Lively of paintings
good bloodspurt tho
Brianna: yeah good on the blood front, but Judith just doesn’t seem sufficiently enthused
Lyta: “is this even the right angle? I should have practiced first”
“I’ll do better next time”
(Via Laura Olin’s newsletter)
Fernando Maselli creates infinite mountainscapes in his quest for the sublime
To create his works, he photographs mountainous areas from different angles over a period of days; something only possible because of his training as a climber. Later, in the studio, he combines these images, creating a new landscape that through repetition attempts to achieve what he calls the “artificial infinite effect…[and] the concept of the sublime as it was defined by Burke”.
I plant trees for a living, but Flat Earthers tell me they don’t exist
That’s a simplification of the concept, of course. The main idea is that within the overall Flat Earth theory, there are no more “real” trees left. According to them, the trees we see now are small ersatz versions of giant, 20-mile-high trees that used to exist on earth in ancient times. In short, the things we think are trees today are actually…bushes.
It’s 2019, but are we any further on?
Nothing but the truth: the legacy of George Orwell’s Nineteen Eighty-Four
Orwell was both too pessimistic and not pessimistic enough. On the one hand, the west did not succumb to totalitarianism. Consumerism, not endless war, became the engine of the global economy. But he did not appreciate the tenacity of racism and religious extremism. Nor did he foresee that the common man and woman would embrace doublethink as enthusiastically as the intellectuals and, without the need for terror or torture, would choose to believe that two plus two was whatever they wanted it to be.
Nineteen Eighty-Four is about many things and its readers’ concerns dictate which one is paramount at any point in history. During the cold war, it was a book about totalitarianism. In the 1980s, it became a warning about technology. Today, it is most of all a defence of truth.
Speaking of liars.
Boris Johnson may be the UK’s next Prime Minister, but he’s up on criminal charges for Brexit “Battle Bus” lies
Ball’s complaint claims that Johnson knew that his NHS promises were lies, and as evidence, cites instances in which Johnson used accurate figures. The complain calls for a criminal sanction as remedy for these lies, because “lying on a national and international platform undermines public confidence in politics.”
There will be preliminary hearings tomorrow, and then one of four things may happen: Johnson may appeal, the Criminal Prosecution Service may allow Ball to continue with his own private proceedings, or the CPS may take over the proceedings, or they may shut them down on the basis that the prosecution is not in the public interest.
George Orwell jumped ahead 36 years. With his new TV series, Years and Years, Russell T. Davies only leaps from five to 15 years ahead, but his vision of the future feels likelier and far scarier as a result. Why do we, the audience, keep doing this to ourselves?
From Years and Years to Bird Box: why we turn to dystopian dramas in a crisis
Right now, it’s hard to think of a more prescient film than the 2006 thriller Children of Men with its depiction of environmental catastrophe and xenophobia; call me naive but not in a million years did I think we’d get so close to Alfonso Cuarón’s vision. Great art is supposed to reflect life, or so we are told. For me, the power of Years and Years lies not in its moments of high drama but in its more subtle drawing of the growing tensions between families, generations and cultures, and the line the series draws between now and the years to come. The future is here on TV, but the question is: have we got the stomach for it?
Great to see some more work from this most patient of photographers.
“Crowded Fields” by photographer Pelle Cass
“I’m still fascinated by the body in motion and the strangeness of time (although I’m sick of watching college sports!). To make the compositions, I put my camera on a tripod, take up to a thousand pictures, and compile selected figures into a final photograph that is kind of a still time-lapse. I change nothing — not a pixel. I simply select what to keep and what to omit. It all happened precisely as you see it, just not at the same time.”
They say there’s nothing quite like being there in person, whether there is on top of a mountain or in front of a painting. I’m not so sure, though.
Louvre is ‘suffocating’ with high volume of visitors, striking workers say
Union officials say that Louvre management is failing to address the issue of overcrowding, and that they are “dismayed” by “the shameful image we give of our establishment”. Staff must deal with “angry visitors” unhappy with conditions while emergency evacuation procedures are inadequate, they say.
Why I won’t be joining the queue at the top of Everest
Everest has become largely detached from the rest of climbing and mountaineering. It has become a trophy experience, drawing too many otherwise without much interest in the sport, validated by media coverage that sees Everest as being endlessly “conquered” rather than passé.
Game of Thrones is ‘game changer’ for NI tourism
“I’m all for tourism in Northern Ireland but this sort of tourism – herding people in and out – they come to see one thing and that’s it,” she said. “For local residents it is frustrating – the constant buses never stop.” […] There are also issues at the Dark Hedges outside Armoy, County Antrim. Just 10 seconds on Game of Thrones was enough to make it a tourist attraction. Congestion and damage to the trees led to traffic being banned but that is not always obeyed.
An essay by Lauren Elkin on Susan Sontag, and why her work matters now more than ever.
Susan Sontag was a monster, of the very best kind
This is how I see her monstrosity: residing not in whether she was or was not likeable, but in her relentlessness, and her refusal to pander. The word ‘monster’ comes from the Latin monere, to warn. We need monsters like Sontag because they aren’t afraid to speak a certain kind of truth: cutting through cant, received opinion, nationalist rote, the efforts of alt-Right bot farms. We need critics who insist on hierarchies of thought and output, instead of buying into marketing hype that makes everyone really, really good, critics who don’t lunge straight for content, for what a book is ‘about’ or what it ‘says’, but who stop to consider form, and style – which, as Sontag shows us, are inextricably bound up in content. We need critics to keep us on our toes, to question authority, sweeping claims, totalising world views. We need Sontag to help us think for ourselves, and be unafraid to speak our minds. And we need her for these things now, more than ever. Maintaining a lively critical capability isn’t just about snark. It’s how we’re going to make it out of these dark days of nationalism and populism with our democracy intact.
I was searching for images of Duchamp’s Nude Descending A Staircase painting that had inspired Marco Brambilla’s animation, when Google showed me this photo.
A flash of recognition! I had seen it before, on that cover of The Third Policeman by Flann O’Brien. I hadn’t realised who it was at the time, just thought it was some spooky old man.
Victor Obsatz’s portrait of Marcel Duchamp
In March 1953, the Greenwich Village gallery owner Michael Freilich (RoKo Gallery) asked 28 year-old Victor Obsatz to photograph Marcel Duchamp in his apartment on West 14th Street. The resulting double-exposure print pleased Duchamp very much, as he chose it especially for the front and back covers of Robert Lebel’s 1959 catalogue raisonné.
The work has since become one of the most popular and sought-after images of the artist, and has been reproduced in a number of well-known texts on Duchamp, Dada, Surrealism, and recently in the The National Portrait Gallery’s 2009 exhibition “Inventing Marcel Duchamp, The Dynamics of Portraiture.”
It’s certainly a striking image of a very peculiar man, a great choice for a very peculiar book.
The Two Duchamps
He is known as the godfather of conceptual art, yet Marcel Duchamp was also a great admirer of the Pre-Raphaelites, and had strong affinities for their craftsman-like approach and their ‘tortured explorations of sex, chastity and desire’
The political life of Theresa May – in pictures
A look back over May’s political career, from being elected as MP for Maidenhead in 1997 to Brexit, the snap election that backfired and her onstage dancing at the 2018 Tory conference.
Theresa May: Premiership in six charts
1. She hasn’t been in office long
Mrs May has developed a reputation for surviving in almost impossible circumstances, but she is still among the UK prime ministers with the shortest time in office.
A round-up of films showing that animation is all about movement, really. Let’s start with something literal.
Nude Descending a Staircase No.3 by Marco Brambilla
“The figures of No. 3 constantly reconfigure themselves to cascade down an unseen stairway,” says regular NOWNESS contributor Brambilla. “The body, shapes and colour palette are pure Cubism, now expanded into three dimensions using state-of-the-art computer technology.” Brambilla’s No. 3 is a simulation of a walk cycle, which itself is an abstraction of human movement taken from motion-capture recordings. Variations of the cycles are rendered at different speeds and collaged into a kinetic composition that constantly evolves.
As well as bringing life to the models, this film shows you can animate the cameras filming those models.
Daria Kashcheeva combines stop motion, documentary-style filmmaking and painterly techniques
The trauma that spirals out inexorably from a single instance of failed connection between father and daughter is captured with an affecting candidness by Daria’s use of stop motion animation. For her, the technique affects a closeness with the world of the characters as a tactile reality. “I like the air between the camera and the puppets, which is tangible and which I cannot feel in computer 2D animation.” This proximity to the characters is further enhanced by Daria’s painstaking filming technique. Instead of adopting the fixed perspective of an objective viewer, she simulates the cinematic effect of hand-held footage by animating the motions of her camera as well as the movements of her puppets.
How about animating something that doesn’t move for 50+ years?
A whale can live 50-75 years. Its afterlife is equally long and spectacular
After a whale dies, it begins to sink. As it drifts slowly downward, its body provides sustenance for an incredibly diverse community of organisms. In Whale Fall (After Life of a Whale), the stages of consumption are illustrated by paper puppets of the fish, crustaceans and microscopic bacteria that feed upon the whale for decades after its death.
Or something that hasn’t moved for thousands of years?
Frozen for millennia, an ancient Greek soldier is freed to charge into battle once again
The artifacts that underlie so much of our understanding of the ancient world can often feel like brittle remnants of a dim and dusty past that’s hard to access without context and extensive knowledge. But sometimes just a little kineticism can transform a bit of pottery into a living story. Such is the effect of this animation produced for an exhibition at the Ure Museum of Greek Archaeology at the University of Reading in the UK, which breathes life into war scenes from a vase found on the island of Euboea and thought to date to roughly 550 BCE.
And from the sublime to the ridiculous; animating continental drift, as the UK stupidly slides away from Europe.
Max Colson satirises post-Brexit UK in a 3D-modelled animation
Brexit really has brought out the worst in people. The rhetoric spewed by certain right-wing politicians has allowed blatant racism to ooze out of hiding, revealing a cesspit of empire-loving xenophobes that wouldn’t know what makes Britain “Great” if it smacked them in their bland food-loving faces. But with that rather enormous caveat, it’s also been an utterly fascinating time for people-watching. If you’re interested in the idea of ‘Britishness’, like artist Max Colson, the past three years have been a revelation. Via nostalgia for a Britain of the past (in many cases a fictional country that never really existed), there’s a tonne of insight into the values, fears and neuroses motivating us Brits. It’s these idealised views of Britain that Max has mined for his latest short film The Green and Present Land.
Something very magical and dreamlike yet mundane and industrial about this recent art installation.
A fleeting dandelion wish processing facility appears for two days outside of Los Angeles
A recent two-day installation in Commerce, California afforded visitors an opportunity to evaluate and deposit their secret wishes. Dandelions, which was organized by the anonymous artist group The Art Department, took place in an administrative building at the Laguna Bell electrical substation from May 11-12, 2019. The cavernous space was transformed into a secret wish processing facility, where visitors submitted their wishes for questioning and analysis before receiving a dandelion to send their wish in a whoosh down a chute of either slam dunks or long shots.
A factory that processes your dandelion wishes
Visitors who wanted to make their wishes in person were handed a ticket and instructed to climb a flight of rusted stairs that led to a dilapidated administrative building. Inside, a grassy, dandelion-lined corridor pointed wishers to their first station: a cramped office where a brusk employee asked the visitor to describe their wish without spilling the specific details (the Department of Small Things That Float on the Wind, which oversees the wish-processing facility, firmly believes that sharing a secret wish automatically disqualifies it from coming true). The bureaucrat asked more general questions. Could the wish be categorized as altruistic or selfish? Did it pertain to romance or your career?
Then the wishers were ushered to the next station, where they took a more thorough survey on the WISH_TEK2000, an old, ’90s-era computer running on DOS. At the end of the survey — which asked you to rate your general luck on a scale of one to 100 — the computer spat out the likelihood of the wish being granted; for me, it was a long shot.
The whimsical journey, which was unique, beautiful, and expertly produced, may feel like it lacked depth conceptually, but was genuinely engaging. Even though it was visually impressive, it didn’t dissolve into Instagrammable gimmicks. Pulling visitors into the immersive script discouraged them from breaking the fourth wall by pulling out their phone, and the surveys put pressure on visitors to think more seriously about what they may wish for if they actually had the chance for it to come true.