How, knowing that even the universe is dying, do we bear our lives? The finitude and yet vastness of both our deeds and the cosmos through a fleeting moment of contemplation.
“But We Had Music” is a poem written by Maria Popova, performed here by Nick Cave and transformed into animation by Daniel Bruson, using charcoal drawings, light caustics and optical distortions with glass. The film was made as part of the seventh annual Universe in Verse — a many-hearted labor of love, celebrating the wonder of reality through science and poetry, that took place on April 7th, 2024, on the eve of a total solar eclipse.
More information on The Marginalian: themarginalian.org/2024/04/06/but-we-had-music/?mc_cid=4012e1f8d6&mc_eid=dee49e1ab2
Created for The Universe in Verse: theuniverseinverse.org
Poem by Maria Popova
Reading by Nick Cave
Animation and Direction by Daniel Bruson
Music by Nick Cave & The Bad Seeds
Voice edit by Pêu Ribeiro
Created for The Universe In Verse, a project by Maria Popova.
Lindex – Underwear For Life
Directed by Fiona Jane Burgess
Production Company: Smuggler London
Managing Director: Fergus Brown
Managing Director / Executive Producer: Lucy Kelly
Producer: Ellie Fry
Production Manager: Ellie Sanders Wright
Production Assistant: Kamran Marzban
Production Runner: Hannah Wolfenden
Client: Lindex
Producer: Frida Kifeldt
Creative: Martin Cedergren
Creative: Linda Nellemo
Creative: Hannah Wickelgren Löthman
Stylist: Charlotte Kopp
Casting: Road Casting
Cinematographer: Andreas Johannessen
1st AD: Joe Carter
2nd AD: Alix Williams
1st AC: Barney Batchelor
2nd AC: Nina Mangold
Cam Trainee: Eve Gabarre
Grip: Louisa Court
Video Playback: Liam Coles
Sound Recordist: Lucy Pickering
Boom Op: Chi Limpiroj
Gaffer: Ben Manwaring
Electrician: Aggie Mentel
Electrician: Perry Read
Electrician: Conrad Reid
Electrician: Jamie Chatz
Electrician: Camilla Dazzi
Electrician: Kevin McFadden
Rigger: Mark Spring
Production Designer: Bon Walsh
Art Director: Tasneem Elnayal
Prop Master: Ezra Piers-Mantell
Props Assistant: Jonas Morgan
Art Assistant: Adrian Gono
Art Assistant: Jamie Brown
Art Assistant: Jumana Abdelsalam
Construction: Tom at Consructive Creative
Action Vehicle: Chris Anstey
Wardrobe Stylist: Verity May Lane
Wardrobe Assistant: Lucy Thomson
HMU Stylist: Michele Baylis
HMU Assistant: Roise McGinn
HMU Assistant: Amy Whyard
Runner: Maya Armon
Runner: Grace Robertson
Runner: Bradley Baterip
Runner: Hugo Foley
Runner: Barney Hartwill
Rushes Runner: Monty Chaudoir
Post Production and VFX: Okay Studio
Postproduction producer: Neuma Llusiá
Editor: Jo Lewandowska
Edit Assistant: Michelle Koops
VFX: Faris Hallaq
Richard “Stretch” Russell
Colour grading Studio: TMLS
Colourist: Julien Alary
Colour assistant: Malin Imerslund
Colour assistant: Chrisremy Berrefjord
Colour Producer: Eli Mari Sandal
Sound Design and Mix: King Lear Music & Sound
Sound Designer – Jack Sedgwick & Dugal MacDiarmid
Audio producer – Natalie Curran
Catering: Reel to Reel
Medic: Paul Mawson
Camera Kit: Panavision
Lighting: MBSe Lighting
Film Stock: Kodak
Film processing and scanning: Cinelab UK
MAY 1, 2024 GRACE EBERT
“Abetare” (2024). All photos by Eileen Travell, courtesy of The Metropolitan Museum of Art
Petrit Halilaj magnifies childhood doodles taken from desks in the Balkans in large sculptures that occupy The Met rooftop.
When visiting his hometown of Runik, Kosovo, back in 2010, Petrit Halilaj realized that his elementary school was being demolished. He went to the site—which had miraculously survived the Yugoslav wars that spurred his family to flee to an Albanian refugee camp in 1998—and found a pile of desks, many with doodles and notes scratched into their surfaces.
These etchings have now found their way to New York, where they’re perched atop The Met’s rooftop garden for Abetare, which translates to primer, as in the early education books used for learning basic literacy. Enlarged to proportions that would crush any singular tabletop, the rough drawings are presented as scratchy bronze sculptures depicting a flower, house, and spider á la Louise Bourgeois […]
More: Petrit Halilaj’s Scratchy Doodles Grapple with Childhood Innocence on The Met Rooftop — Colossal
[…]
Sign up to learn more about the design book that we’re going to publish: https://www.studioello.com/mail
Check out my online industrial design course, Form Fundamentals: https://bit.ly/335vsqO
Join my discord channel:
/ discord
Follow me on Twitter:
/ john_mauriello
Follow my Instagram:
/ mauriellodesign
Follow me on LinkedIn:
/ mauriellojohn
All content directed and written by John Mauriello. John Mauriello has been working professionally as an industrial designer since 2010. He is an Adjunct Professor of industrial design at California College of the Arts.
Edited by Brad Heath: https://bradleyheath.com/
Check out Technology Connections, the guy who reviewed the toaster:
• The Antique Toaster that’s Better tha…
Check out TFLClassics, they do cool stuff with their Model T (and other cars):
• Driving a 100-Year-Old Car Through th…
Some designs don’t change much. The paperclip, the Bic pen, the QWERTY keyboard layout, and even the PlayStation controller. Decades and sometimes even centuries pass, but these designs barely change at all. They’re quintessential. Why do some designs last for decades, while other seemingly better alternatives never catch on?
Time stamps:
0:00 Intro to Quintessential Design
2:49 Paperclips & Manufacturing Process
3:46 Maglite: Intellectual Property, Patents, & Legal Strategies
4:55 Opera
5:56 Maglite part 2
8:19 Setting the Standard: Playstation Controllers & QWERTY Keyboard
12:20 Designs that Change Culture: Model T
21:49 Indispensable Addictions
30:28 The Fifth Element
Works Cited: https://text.is/0K1Z
[…]
[…]
Not every rhythm has a widely recognised name, but for those that do it will be because that rhythm has a particular cultural significance. So today we are going to look at 18 of these “named” rhythms so you can be familar with how they sound and where they come from.
The outro music to this video is my track “Clap” which you can hear in full on Spotify: https://open.spotify.com/artist/0wKKJ…
And, an extra special thanks goes to Douglas Lind, Vidad Flowers, Ivan Pang, Waylon Fairbanks, Jon Dye, Austin Russell, Christopher Ryan, Toot & Paul Peijzel, the channel’s Patreon saints! 😇
SOURCES:
https://www.finearts.uvic.ca/~aschlos…
• From the African 6:8 rhythm to the Am…
https://sunhou.se/blog/the-rhythmic-w…
• Bembé “Afro-Cuban 6/8” – Drum Groove
https://pulse.berklee.edu/?id=4&lesso…
• Scotch Snaps in Hip Hop
• From the African 6:8 rhythm to the Am…
• what is SWING percentage?
• Purcell: Z 605/2. ‘Twas within a furl…
• The Charleston (1926)
• Why do we knock like this? | What Is …
0:00 Introduction
0:11 Son Clave
1:30 Bo Diddley beat
2:42 Tresillo
4:32 Rumba Clave
5:30 Standard African Bell pattern
6:21 Shuffle
7:40 HDpiano
8:14 Swing
9:21 Scotch Snap
10:24 Bossa Nova
11:34 Charleston
12:09 Waltz
13:27 5/4 clave
14:00 Triplets
14:25 Tuplets
14:43 3:2 Polyrhythm
15:51 4:3 Polyrhythm
16:44 Football Clap
17:37 Shave and a haircut, two bits
18:34 Patreon
[…]
think this was better than last week? It definitely felt a bit more under control, and that little slidey lick is really fun. Meanwhile, Ozma’s plot to steal my channel continues…she must be stopped! She got a taste of fame and is now determined to be a star, it seems.
If you’d like to support my channel, go check out my patreon! patreon.com/PhoebeSanders And if you want a little extra banjo fun, head on over to my instagram!
/ phoebesandersbanjo
[…]
