Infinitely more disappointing than a 404 page.
(Source: helloyoucreatives)
Immaterials – the form of meta data created by onformative
Immateriality as material is currently being discovered, opening up a new poetic field in which to narrate with space and information. Location-based metadata waft through the space, and are thereby redefining contexts and places. A new field opens up to designers.
(Source: darklyeuphoric)
Tonight I will be covering the red carpet of the Met Gala as the world arrives to the exhibition of Schiaparelli and Prada: Impossible Conversations.
For the first time, the Costume Institute Gala at the Met will be live streaming the red carpet so you can watch along as fashion’s elite, celebrities, models and artists ascend their way up to this magnificent exhibition.
Please join along with @voguemagazine, #MetGala, and @_FromMeToYou this evening!
PS: For a taste of what’s to come, check out this!
Above: Caroline in Katie Ermilio
(Source: fromme-toyou)
Jean Tinguely: “Sculpture IV” / “Sculpture XII”
From the album Sculpture at the Tate Gallery (1983)
The Swiss sculptor Jean Tinguely (1925-1991) won’t be found in any history of experimental music. But his characteristic Rube Goldberg contraptions, often built from refunctioned industrial detritus, are as fascinating for their sounds as for their visual appearance. Each of his kinetic sculptures is a miniature symphony of mechanical noises, an enchanting ensemble of whirs, clatters, clicks, and clanks.
Tinguely’s most famous work, Homage to New York, was a huge assemblage that self-destructed in the sculpture garden of the Museum of Modern Art in 1960. Though such pieces can of course be read as a dark commentary on Western civilization’s industrial nihilism, Tinguely was no technophobe or Luddite. The target of his artistic critique is not technology itself, but its destructive role in the routinized, joyless culture of mass production and consumption. For Tinguely, the machine stands as a reminder of technology’s playful and generative potential: “The machine is above all an instrument that permits me to be poetic. If you respect the machine, if you enter into a game with the machine, then perhaps you can make a truly joyous machine—by joyous, I mean free.”
Meta-Harmony II (1979)
Tinguely’s form of mechanics is a “meta-mechanics,” which suggests an analogy with physics and metaphysics. From a machine one demands order and precision, reliability and regularity. Tinguely’s point of departure is mechanical disorder. In his early works, change and movement obey only the laws of chance. He pits the emancipated machine against the functional one and gives creations a glorious life of improvisation, happy inefficiency, and shabbiness, expressing an enviable freedom. (K. G. Pontus Hulten, The Machine as Seen at the End of the Mechanical Age)
This excerpt, and many more recordings of Tinguely’s kinetic sculptures, are available for download at the always amazing Continuo’s Weblog. As Continuo notes, the sound-world of these remarkable constructions can be compared to the (admittedly very different) work of Jean-Marc Vivenza and Pierre Bastien.
This Illustration by Jack Cook shows the total amount of water on earth compared with the mass of the planet.
Charles Fishman notes:
The total water on the surface of Earth (the oceans, the ice caps, the atmospheric water) makes up 0.025 percent of the mass of the planet—25/10,000ths of the stuff of Earth. If the Earth were the size of a Honda Odyssey minivan the amount of water on the planet would be in a single, half-liter bottle of Poland Spring in one of the van’s thirteen cup holders.
Candy says, I hate the quiet places
That cause the smallest taste
of what will be
Candy says, I hate the big decisions
That cause endless revisions
in my mind
the dark knight
Lars Von Trier’s, Nymphomaniac to span across two movies.
“We know the director is preparing to make Nymphomaniac, in which Charlotte Gainsbourg will play the adult version of a character whose erotic life we are shown “from the age of zero to the age of 50.”
That’s a lot of time to get across in one film, but now Trier has some space to breathe. Nymphomaniac‘s producer has revealed that the project will be split into two films, with one covering “her childhood and adolescence. The second part will deal with her adulthood.”
(Source: tothegallows)
