This is pleasing, in a low-key kind of way.
Filmed in Tokyo in 1998 by Dennis Wheatley and Stefan McClean.
(h/t, Coudal)
This is pleasing, in a low-key kind of way.
Filmed in Tokyo in 1998 by Dennis Wheatley and Stefan McClean.
(h/t, Coudal)
For newcomers, three items from the archives:
Artspeak and political lockstep.
“The more sceptical among us might suspect that the unintelligible nature of much postmodern ‘analysis’ is a convenient contrivance, if only because it’s difficult to determine exactly how wrong an unintelligible analysis is.”
In which we follow a bizarrely inept attempt to launch a radical left wing tabloid. Dogma prevails, hilarity ensues. From Vanessa Engle’s documentary series, Lefties.
“I was interested in free speech… I was a Communist.”
Arabella Weir passes among the proles, hoping to be noticed.
“Here we see crystallised one of socialism’s moral inversions. By Weir’s thinking, even if you had a grim and frustrating experience at a state comprehensive you should still want to inflict that same experience on your children. Ideally by sending them to a really disreputable school with plenty of rough council estate kids and people for whom English is, at best, a second language. It’s hard to avoid the suspicion that Ms Weir regards children, even her own, not as ends in themselves, but as instruments for the advancement of an egalitarian worldview. That, or as playthings of her own vanity. Which may well add up to much the same thing.”
Feel free to rummage in the greatest hits.
A collection of vintage slide rules for calculating the effects of nuclear weapons.
Also, assorted film posters.
Film of the atomic cannon test, May 25, 1953. A single 280mm shell was fired seven miles, yielding a 15 kiloton explosion.
And a gallery of toys with an atomic theme.
(h/t, Coudal)
I have no idea what, if anything, this piece of CG art by Zeitguised is meant to convey. The obligatory written guff is mercifully short, but guff nonetheless, with references to “six imaginations of disoriented systems” and “the installation of an irreversible axis on a dynamic timeline.” Pseudo-explanations aside, the film itself is worth a squint. It doesn’t seem particularly organised or finished, but some of the animation is dreamlike and oddly suggestive, as though the rendered objects don’t quite fit in the usual three dimensions.
Peripetics by ZEITGUISED from NotForPaper on Vimeo
A high resolution version can be downloaded here and there’s also a “making of” in which very little is explained. (Via Shape + Colour)
Daito Manabe attaches electrodes to his face and triggers contortions in time with techno music. As you do.
The Guardian’s Theo Hobson tells us why he doesn’t approve of James Bond:
It feels like breaking rank with modern heterosexual British malehood, to which I more or less belong, but here goes. I hate James Bond. The continuation of his cult disgusts me, embarrasses me, depresses me.
Poor lamb.
Call me Licensed to Killjoy, but it has to be said: this cult hero is a deeply malign cultural presence. He represents a nasty, cowardly part of us that ought to have been killed off long ago.
Er, killed off by whom, and how? A hail of bullets? Laser beams? Or just the weight of tutting and pretentious disapproval?
Of course there is a very serious case to be made against 007 on strictly feminist grounds. The women in the books and films are silly, naughty, flimsy things who need hard male mastery.
It seems Mr Hobson hasn’t seen recent Bond outings – say, any made in the last fifteen years – in which female characters are spies, assassins and fighter pilots and typically portrayed as tenacious, resourceful and absurdly competent, no less so than Bond himself. Hence, perhaps, the continuing popularity of this “malign cultural presence.”
I don’t know how offensive this is to women, but it’s offensive to me. Indeed I think the real victims of the Bond cult are men, who are impelled by a vile peer-pressure to worship at the shrine of this lethal lothario… The fact is that James Bond’s sexual career does real harm to the male psyche… I seriously believe that Bond is a big factor in the sexual malfunction of our times; the difficulty we have finding life-long partners, and the normalisation of pornography.
As so often, Guardian commentators are singularly immune to the “vile peer pressure” which presumably controls all other sentient beings. Still, at least we can count on them to direct us in our tastes, i.e. away from amusingly hyperbolical cinema and towards socio-political righteousness. I’m sure it will be good for us, if not exactly fun.
A few weeks ago, in one of the ephemera roundups, I posted a link to some tilt-shift photography. The technique is a kind of reverse Supermarionation, whereby life-size objects are made to look like scale model miniatures. Keith Loutit combines tilt-shift photography with stop-motion filming. The results are quite striking. Watch those teeny tiny people move.
Beached from Keith Loutit on Vimeo
Bathtub III from Keith Loutit on Vimeo
More tilt-shift imagery links.
Via Viewmanoid Films, meet the boyband of the future.
Introducing Shakerboys … from viewmanoid on Vimeo
Dig it, baby.
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