Nick Cave’s handwritten dictionary of words, 1984 (via Flavorwire » A Peek Inside the Notebooks of Famous Authors, Artists and Visionaries).
Shigeru Umebayashi - Yumeji’s Theme (from In the Mood for Love’s Soundtrack)
梅林茂 (born February 19, 1951 in Kitakyushu, Fukuoka) is a famous japanese composer. He began his career as the leader of the Japanese new wave rock band EX. Subsequently, he began composing music for films and television series. He has composed music for more than 40 Japanese and chinese films. His minuet, Yumeji’s Theme, originally composed for the 1991 Seijun Suzuki film Yumeji, was used by acclaimed director Kar Wai Wong in his 2000 film, In the Mood for Love, and Umebayashi was subsequently commissioned by Wong to write the score for the film’s 2004 sequel, 2046. He also composed the musical scores for two wuxia films by Zhang Yimou, the Oscar-nominated 2004 film, House of Flying Daggers and the 2006 film, The Curse of the Golden Flower.
Studio Ghibli films as Penguin Books
illustrations Jason Kauzlarich :: via etsy.com
Brian Eno on Creating Music and Art As Imaginary Landscapes (1989)
In Imaginary Landscapes, documentarians Duncan Ward and Gabriella Cardazzo paint an impressionistic video portrait of Brian Eno: record producer, visual artist, collaborator with the likes of U2 and David Bowie, ambient music-inventing musician, self-proclaimed “synthesist,” early member of Roxy Music, and co-creator of the Oblique Strategies. Even if you’ve never handled an actual deck of Oblique Strategies cards — and few have — you’ve surely heard one or two of the Strategies themselves in the air: “Honor thy error as a hidden intention.” “The most important thing is the most easily forgotten.” “Do something boring.” The idea is to draw a card and follow its edict whenever you hit a creative block. This should, in theory, get you around the block, no matter what you’re trying to create. Eno first published the Oblique Strategies with painter Peter Schmidt in 1975, and here in Imaginary Landscapes, fourteen years later, you can hear him still excited about the cards’ basic premise: if you follow arbitrary rules and theoretical positions, they’ll lead you to creative decisions you never would have otherwise made.
This short documentary combines interviews of Eno with footage of him crafting sounds in his studio, simulating the echoes of a cave, say, then turning that cave into a liquid. It weaves these segments together with a trip through American cities like Los Angeles, San Francisco, and New York, then back to the Woodbridge, Suffolk of Eno’s youth, then on to Venice, one of the world’s places that draws him irresistibly with its wateriness. Place itself emerges as one of Eno’s driving concepts, not simply as a source of inspiration (though it seems to work that way for his video Mistaken Memories of Medieval Manhattan), but as a form. When Eno talks about making albums, or images, or installations, he talks about them as places for audiences to exist. In any physical place, you’re presented with a certain set of choices. You can’t always tell the deliberately designed elements from the “natural” ones, and having a rich experience demands that you actively use your own awareness. This, so Eno explains, guides how he builds “places” — imaginary landscapes, if you will — for listeners, gallerygoers, recording artists, or himself, trying to open up “the spaces between categories” and “make use of the watcher’s brain as part of the process.” Look into his more recent projects, like his iPhone apps or his collaborations with bands like Coldplay or his touring exhibition 77 Million Paintings, and you’ll find him building them still.
ho sempre molte perplessità sull’ikea, ma queste robine, è inutile dirlo, mi piacciono.
ckck:
Seems like IKEA are really shaking things up this year. In addition to the previously announced TV set, they’re also going to release a digital camera made of cardboard called Knäppa (“Snap”). It’ll hold 40 photographs at a time and plugs directly into your USB port. While it’s not the prettiest camera the world has ever seen, I do love the idea of a screen-less digital camera that brings people back to the wait-and-see days of film.
