Freunde von Freunden Mixtape #54 by Missy Livingston aka. Moderna
With this mix, Missy delivers a collection of tracks inspired by a train journey in Norway to Hoth. This experience was the journey of a lifetime and something she will never forget. We will let her take it from here.
Thank you Sam Valenti & David John for introducing us.
1. Sweet Mysterious -Mari Kvien Brunvoll
2. Gullfjellet - Bjørn Torske
3. Just An Illusion (Lindstrøm Vs Todd Terje Dub) - Imagination
4. Caravan (Mekhanist Remix) - Skatebård
5. Boogie Up Yours (2011 Edit) - Beatfanatic
6. Heaven (Prins Thomas Diskomiks) - Kasper Bjorke
7. Elle Et Moi (Joakim Remix) - Max Berlin
8. Fail Forever (Nicolas Jaar Remix) - When Saints Go Machine
9. Submarine - Boska
10. Lanzarote (diskJokke master) - Lindstrøm and Todd Terje
11. Tusen Bita (Barker & Baumecker Tusen Takk Mix) - Machinebirds
12. Party On The Moon - Advanced Language
Sleepovers are really just elaborate, animated Tetris puzzles, suggests Anna Anthropy's and Leon Arnott's free game TRIAD for Windows and Mac. Players must learn the sleeping habits of three humans and one cat to make sure they all fit comfortably on the bed without bumping into each other. Once the terti-humans are in place, players can click off the lamp and watch how they toss and turn. I found that when I took too long to make some moves, I wore out Liz Ryerson's music that otherwise fit the late-night mood.
Here's to hoping TRIAD becomes a live-action, physical game in future indie events, maybe with more tertri-humans. Each player also must communicate and then role-play their sleeping habits until they arrive at a solution. Or something.
I may be risking my 30-year friendship with John Kricfalusi by saying this, but Thad Komorowski’s new book, Sick Little Monkeys: The Unauthorized Ren & Stimpy Story, is a really great read. Beyond that, Thad went to great lengths – without the cooperation of John K or anyone at Nickelodeon – to research the history of the show and its participants, and to tell a compelling and cautionary tale of rags-to-riches cartoon success in contemporary Hollywood. The story is woven together through extensive interviews with key players including Bob Camp, Billy West, Bob Jaques and a dozen others – Komorowski also traces Spumco’s roots from John’s early days with Filmation and Bakshi, with extensive critiques of the Ren & Stimpy cartoons themselves (a complete episode guide is included in the appendix), through to the latter day excesses of the Spike shows. The whole story is here, meticulously researched, clearly justifying the show’s important role in the recent history of animation. There’s no question Spumco changed the face of television animation – and still influences series, students and independent animators today. Love it or hate it, this book explains how it all came to be – and for that, it’s a must-read.
Earlier this week, a fan site published an early draft of a script for Prometheus, revealing plot points and alien creatures that never appeared in Ridley Scott's final version. Titled Alien: Engineers, the script was penned by Jon Spaihts before Lost creator Damon Lindelof eventually took over, and includes new plot twists involving alien parasites and even Facehuggers.
On Sunday, Spaihts confirmed via Twitter that the script is indeed "authentic," and later told Wired that he wasn't upset about the leak, describing it as a testament to Ridley Scott fandom. "The interest in the script speaks, more than anything, to their love of the film and the Alien universe," Spaihts explained. "It’s really just an aspect of their fandom for the...
You’ve just run a marathon in the sweltering August sun and you’re body is overheating. While other runners are gulping down cups of cold water, you calmly plug your forearm into the Glove. Not only does it cool your core temperature down in minutes, it erases muscle fatigue, which enables you to push your body farther and harder. The technology is “equal to or substantially better than steroids … and it’s not illegal,” said one Stanford biologist working on the Glove.
Digital Deceit: Jeff Hancock at TEDxWinnipeg
Digital Deceit: Jeff Hancock at TEDxWinnipeg 2012 Deception is one of the most significant and pervasive social phenomena of our age. On average, people tell one to two lies a day, and these lies range from the trivial to the more serious, including deception between friends and family, in the workplace, and in politics. At the same time, information and communication technologies have pervaded almost all aspects of human communication and interaction, from everyday technologies that support interpersonal interactions, such as email and instant messaging, to more sophisticated systems that support organizational interactions. Jeff Hancock is an Associate Professor in the Departments of Communication and Information Science, and co-Director of Cognitive Science at Cornell University. He is currently Chair of the Information Science Department. His work is concerned with understanding they psychological and linguistic aspects of social media, with a particular emphasis on deception, identity, social interaction, and the psychological effects of online interaction. His research is supported by funding from the National Science Foundation and the Department of Defense, and his work on lying online has been featured in the New York Times, CNN, CBC, NPR, BBC and the CBC documentary The Truth About Lying. Dr. Hancock earned his PhD in Psychology at Dalhousie University, Canada, and joined Cornell in 2002. In thespirit of ideas worth spreading, TEDx is a program of local, self <b>...</b>
The startling majesty – and deceptive complexity – of Michael Benson’s space art can be traced back through a process he dubs “true color.” A multimedia artist, Benson is a man utterly fascinated with outer space (he points to 2001: A Space Odyssey as an inspiration for his interstellar works — works that so impressed 2001 author Arthur C. Clarke that the sci-fi titan agreed to write the foreword to one of Benson’s books), and he has fixed his talents on creating visions that break free of the confines of Earth, enabling viewers to behold the unseen wonders of the universe.
To encounter a Benson landscape is to be in awe of not only how he sees the universe, but also the ways in which he composes the never-ending celestial ballet. From the spidery volcanic fractures that scar the surface of Venus to the time-lapse flight path of a stray asteroid, the dizzying close-ups of the swirling “red spot” of Jupiter, the x-ray-filtered view of the sun’s surface and the rippling red dunes of Mars, Benson is a visual stylist with a gift for framing and focus. Apart from cutting-edge high-definition renderings of our solar system’s most familiar objects, he also routinely converts extra-terrestrial terrain into thrilling, abstract landscapes that seem positioned somewhere between the scientific and the avant-garde.
The cover of Planetfall: New Solar System Visions
The cover of Planetfall: New Solar System Visions
Some of his greatest achievements skew towards the hyper realistic; I have been following Benson’s work for years and still the image I remember most is a massive, intricately-detailed view of the surface of Io, one of Jupiter’s moons (slide 13 in the gallery above). Looming large in a print that renders the Io surface in a yellow-brownish hue, delineating the moon’s different terrains, Benson’s color scheme accentuates the dark volcanic calderas that dot the satellite’s surface. The final result is sharp, meticulous and magnificent. At first glimpse it’s a simple planetary object, but the closer your eye scans the terrain, the more you realize that Benson has somehow taken this imagery captured 400 million miles away and given us a front-row seat to consider the turbulent topography of this alien orb. Benson’s visions demand more than a single look; the longer one spends with his vast landscapes, considering the scale and scope, the more they facilitate a state of meditation.
Behind every one of these images, however, lies an intricate and involved photo editing process (watch the video of Benson’s method above). Benson typically begins each work by filtering through hundreds or thousands of raw images from space, made available to the public by NASA and the European Space Agency – photographs that have been taken by unmanned space probes flying throughout the solar system, rovers on Mars or humans aboard the International Space Station. Many of these photos come back to Earth as black and white composites, or as images created with only a few active color filters. Benson then sorts through the images in a hunt for something surprising, revealing or noteworthy. Once he’s found a subject of interest, he starts stitching together individual snapshots to create larger landscapes, and filtering these landscapes through his own color corrections to create a spectrum that approximates how these interstellar vistas would appear to the human eye.
In his latest published photo collection Planetfall: New Solar System Visions, now available from Abrams, Benson details the fine points of his processing techniques:
“The process of creating full-color images from black-and-white raw frames—and mosaic composites in which many such images are stitched together—can be quite complicated,” Benson writes. “In order for a full-color image to be created, the spacecraft needs to have taken at minimum two, but preferably three, individual photographs of a given subject, with each exposed through a different filter… ideally, those filters are red, green, and blue, in which case a composite color image can usually be created without too much trouble. But in practice, such spacecraft as the Cassini Orbiter or the Mars Exploration Rovers … have many different filters, which they use to record wavelengths of light well outside of the relatively narrow red, green and blue (RGB) zone of the electromagnetic spectrum that human eyes can see.”
Benson goes on to explain that he will often start working with images that are missing an essential filter — that ultraviolet and infrared filters have been used instead of color filters, meaning the composite image is lacking necessary information.
It is here where Benson has carved out an area of expertise, filling in that missing image information to add shape, scale and color to the planetary bodies he hopes to explore. The resulting visuals, as you can see above, are pristine and powerful glimpses of the furthest reaches of our solar system (and, in some of Benson’s other works, the very edges of the universe). With the landing of the Curiosity rover on Mars in August, and its subsequent photographs of what appears to be Martian riverbeds, the world was once again reminded of the power of a single image transmitted back to Earth across millions of miles of open space. It’s a dizzying thing, to behold an alien world, and scanning through the portfolio of Michael Benson — a true “space odyssey” — is to experience this rush of discovery again and again.
Michael Benson’s new book Planetfall: New Solar System Visions, is now available from Abrams. Also featured above are images from Beyond: Visions of the Interplanetary Probes (Abrams, 2008). Images from Planetfall will be on display at New York’s Hasted Kraeutler Gallery in December 2012. To see more of Benson’s work, visit his web site.
Steven James Snyder is an Assistant Managing Editor at TIME.com.
Academy Award-winning visual effects supervisor Rob Legato has been involved in many Hollywood classics and blockbusters over the last two decades, including: Apollo 13, Titanic, Armageddon, Cast Away, Harry Potter, Bad Boys 2, The Aviator, The Departed, Avatar, and Hugo. Over the summer, Legato gave a TED talk entitled “The Art of Creating Awe” about how visual effects are used to recreate reality or sometimes even “trump the real thing”.
In the TED Talk, Legato shows us behind the scenes footage of how the movie magic was created, how he tries to recreate the idealized memory of a moment and not necessarily the reality of a moment We learn about the reaction from a NASA consultant who worked on Apollo 13 and legendary astronaut Buzz Aldrin. We see how he seamlessly blended real footage of the Titanic with shots of miniature models, and how our brain is tricked into believing that its all real. And lastly, Legato shows how set size limitations on Martin Scorsese’s Hugo resulted in some creative choices: Moving the floor to create the illusion that the train was moving and combining a five different sets and a multitude of shots into the long “steadicam” shot from the beginning of the film.
In the wake of excitement over NASA’s mars rover Curiosity I recently revisited Apollo 13, and was amazed at how well the visual effects held up for a movie released 17 years ago. And after watching Legato’s TED Talk, I’m pretty sure most people watching the film today probably don’t even notice the visual effects. Watch Legato’s TED Talk embedded after the jump.
Thanks to FirstShowing for alerting me to this video.
- /Film Previews Universal Florida’s New Superstar Parade and Cinematic Spectacular – 100 Years of Movie Memories
- LOL: George Lucas, Michael Bay and JJ Abrams’ ‘Titanic’ Super 3D Trailer
- Astrophysicist Neil deGrasse Tyson Got James Cameron to Change One Thing in ‘Titanic 3D’
- ‘Titanic’ Shifted to Midweek Release Date, Eddie Murphy’s ‘A Thousand Words’ Moved Yet Again
- Watch James Cameron Talk About the 3D Conversion of ‘Titanic’
- Watch the ‘Titanic 3D’ Trailer In 2D On Your Computer