From the Russian Space Agency, a video of what the sky would look like if the Sun were replaced by some other stars. It starts off with the binary star system of Alpha Centuri, but watch until the end for Polaris, which has a radius 46 times that of the Sun.
I haven't had a chance to watch this yet, so I don't know what's different about it aside from the shorter runtime of 1h50m. If someone watches it and wants to report in about the differences, let me know. Soderbergh also guessed that Kubrick would have liked shooting on digital:
let me also say i believe SK would have embraced the current crop of digital cameras, because from a visual standpoint, he was obsessed with two things: absolute fidelity to reality-based light sources, and image stabilization. regarding the former, the increased sensitivity without resolution loss allows us to really capture the world as it is, and regarding the latter, post-2001 SK generally shot matte perf film (normally reserved for effects shots, because of its added steadiness) all day, every day, something which digital capture makes moot. pile on things like never being distracted by weaving, splices, dirt, scratches, bad lab matches during changeovers, changeovers themselves, bad framing and focus exacerbated by projector vibration, and you can see why i think he might dig digital.
Update: Reader and 2001 fan Dan Norquist watched Soderbergh's edit and reported back via email:
I love everything Soderbergh does and I love the fact that he cut this film. It's fun to see it in a more concise form. Really, there's no choppy edits or anything that doesn't make sense (except the whole movie of course!). I did miss some of my favorite parts. I love when the father is talking to his daughter on the video phone. Also, if you weren't around in 1968 it's really hard to describe how scary the Cold War was. There was always this thing hanging over our heads, that the Russians really had the means to destroy us with nuclear weapons. So you really need the full scene where the American meets the Russians (Soviets). The forced, unnatural politeness is so brilliant and helped to give the film context in its time.
All the important stuff is there -- the apes, the monolith, HAL turning evil, astronaut spinning away, the speeding light show (shortened?), old man pointing at space child -- and it's all recut by a master.
Finally, there is something about the full length of the original film that is part of its strength as a piece of art. There is no hurry, no cut to the chase. It's almost as if you have to go through the entire journey before you can earn the bubble baby at the end.
No surprise that he tightened it up into something less Kubrickian and more Soderberghish. Dan closed his email by saying he would recommend it to fans of the original. (thx, dan)
Update: I've seen some comments on Twitter and elsewhere about the legality of Soderbergh posting the 2001 and Raiders edits. The videos are hosted on Vimeo, but are private and can't be embedded on any site other than Soderbergh's. But any enterprising person can easily figure out how to download either video. The Raiders video has been up since September, which means either that Paramount doesn't care (most likely in my mind) or their lawyers somehow haven't caught wind of it, even though it was all over the internet a few months ago (less likely). We'll see if whoever owns the rights to 2001 (Time Warner?) feels similarly.
An interesting wrinkle here is that Soderbergh has been outspoken about copyright piracy and the Internet. From a 2009 NY Times article about a proposed French anti-piracy law:
In the United States, a Congressional committee this week began studying the issue. In a hearing Monday before the Foreign Affairs Committee of the House of Representatives, Steven Soderbergh, the film director, cited the French initiative in asking lawmakers to deputize the American film industry to pursue copyright pirates.
Deputizing the film industry to police piracy sounds a little too much like putting the fox in charge of the henhouse. I wonder if Soderbergh feels like these edits are legal to post publicly, if they are fair use for example. Or rather if he feels it's not but he can get away with it because he is who he is. (thx, @bc_butler)
Update: Soderbergh has removed his cut of 2001 from his site "AT THE REQUEST OF WARNER BROS. AND THE STANLEY KUBRICK ESTATE". So, that answers that question. (via @fengypants)
I also found out that apparently I had jury duty last week on the same day in the same room as Soderbergh. Total embarrassing fanboy meltdown narrowly avoided. ↩
Finally, courtesy of the Auralnauts, we get the Terminator trailer that we deserve. Time travel is hilarious.
I wish we could send you back with pants, but the technology just isn't there yet. So as soon as you hit the ground, you're going to want to find some pants. I know you can do it...because you already did it.
Like the old wives' tale says, if you want to fix the future, just keep sending Terminators back in time. (via @mouser_nerdbot)
Nora Ephron's movie Julie & Julia is based on a book by Julie Powell about her making every recipe in Julia Child's Mastering the Art of French Cooking. Some genius took the movie and cut all the Julie parts out of it, leaving just a movie about the life of Julia Child starring Meryl Streep.
Update: Well, that was fast...got taken down already.
Update: Looks like someone did a similar cut three months ago, Julia Sans Julie:
With A Little Help From My Fwends is The Flaming Lips full-length cover of The Beatles' Sgt. Pepper's Lonely Hearts Club Band. NPR has a first listen to it. ft. Foxygen, Miley Cyrus, Moby, Tegan And Sara, and others.
Last year's pulverizing and strangely pretty The Terror was often punishingly uncompromising, but With A Little Help From My Fwends tackles its impossible task with a comparatively light touch. That lightness is clear from the title alone, and yet The Flaming Lips' audaciously playful streak (required in order to cover Sgt. Pepper's in the first place) still gets undercut with moments of abrasiveness, aggression and detours down strange side roads.
Charles inherits the entire estate of a wealthy uncle. Within 24 hours, the Ingallses, who are seemingly rich, suddenly become Harriet Oleson's best pals. They are pressured to make various contributions throughout the community, and they even receive newspaper article offers to chronicle this tremendous change in their lives. Things get even worse when this newfound fortune threatens the family's relationships with their real friends. Meanwhile, Nellie Oleson, to avenge a barista who broke Nellie's doll, replaces the cinnamon at the Starbucks condiments bar with cayenne pepper while Mr. Edwards finally accepts the idea that coffee can be iced.
Professor Snape stood at the front of the room, sort of Jewishly. "There will be no foolish wand-waving or silly incantations in this class. As such, I don't expect many of you to appreciate the subtle science and exact art that is potion-making. However, for those select few who possess, the predisposition...I can teach you how to bewitch the mind and ensnare the senses. I can tell you how to bottle fame, brew glory, and even put a stopper in death."
Harry's hand shot up.
"What is it, Potter?" Snape asked, irritated.
"What's the value of these potions on the open market?"
"Why are you teaching children how to make these valuable products for ourselves at a schoolteacher's salary instead of creating products to meet modern demand?"
"You impertinent boy-"
"Conversely, what's to stop me from selling these potions myself after you teach us how to master them?"
"This is really more of a question for the Economics of Potion-Making, I guess. What time are econ lessons here?"
"We have no economics lessons in this school, you ridiculous boy."
Harry Potter stood up bravely. "We do now. Come with me if you want to learn about market forces!"
The students poured into the hallway after him. They had a leader at last.
So, this showed up on Vimeo last night and will likely be pulled soon (so hit that "download" button while you can), but here's the deal. In 2012, actor Topher Grace showed an edit he'd done of episodes I-III of Star Wars to a bunch of friends, trimming the 7 hours of prequels down into 85 action-packed minutes of pure story. This Vimeo edit is longer (2:45) and is "based on the structure conceived by actor Topher Grace", which you can read about here.
Grace's version of the film(s) centers on Anakin's training and friendship with Obi-Wan, and his relationship with Queen Amidala (Natalie Portman). Gone are Trade Federation blockades, the Gungan city, the whole Padmé handmaiden storyline, the explanation of midichlorians, the galactic senate and the boring politics, Anakin's origins (a backstory which never really needed to be seen in the first place), the droid army's attack on Naboo, and Jar Jar Binks (Ahmed Best) appears only briefly for only one line of dialogue, used as a set-up to introduce us to the Queen.
In a five part series called "emoji-nation", Ukrainian Nastya Ptichek mixes the work of well-known painters with graphical elements of new media. In the second part of the series, the works of Edward Hopper are augmented with social media interface icons:
The first part finds emoji doppelgangers for works of fine art while the third part uses paintings as movie poster imagery for the likes of Kill Bill and Home Alone (paired with Munch's The Scream). For part four, Ptichek places modal dialogs over art works:
And part five plays around with several Google interface elements:
Love this kind of thing. Feels like I've seen something like it before though. Anyone recall?
Mario Wienerroither takes music videos, strips out all the sound, and then foleys back in sound effects based on what people are doing in the video. You'll get the gist after about 6 seconds of this Jamiroquai video:
Rino Stefano Tagliafierro took more than 100 paintings (from the likes of Reubens, Caravaggio, Rembrandt, and Vermeer) and set them in motion to music to form a slow motion oil painted dreamland.
Lots of boobs, butts, penises, and even the occasional hint of sexual gesture in this one -- the motion sometimes fills in the blanks on all of those frolicking nymph-type paintings, making them seem to modern eyes even more sexist and outdated than the static paintings. There are some definite porny moments, is what I'm saying. So yeah, probably NSFW.
And for those looking to supplement their GIF collections, this page contains links to an animated GIF for each painting represented in the video. (via digg)
In a masterfully edited video, David Ehrlich presents his 25 favorite films of 2013.
Fantastic. This video makes me want to stop what I'm doing and watch movies for a week. It's a good year for it apparently...both Tyler Cowen and Bruce Handy argue that 2013 is an exceptional year for movies. I'm still fond of 1999... (via @brillhart)
YouTuber Chase creates short videos where the faces of celebrities are swapped for other celebrity faces. The results are weird and often hilarious. The best one is probably the most recent video of Natalie Portman and Will Ferrell:
This quick Nicholson/Cruise clip from A Few Good Men is pretty good too:
"When picking the celebrities, I am mainly considering two things. Their relevance and popularity, as well as the availability of unique, high-quality footage in which the actor is looking mostly towards the camera," Chase says. "Mashing up footage in which the characters are constantly looking side to side is much more difficult and usually results in a less convincing final product." He adds. "There have a been a few After Effects sessions that ended up in the recycle bin because of this."
And it might be best with the Crazy in Love cover from Gatsby...just load up that this YT video while watching the animated GIF and you're all set. (This is how Millennials watch TV, BTW...it's all animated GIFs with YouTube video soundtracks. Civilization is gonna be juuuuuuust fine.)
I'm not talking about the objects they make. Their real art is to con us into accepting the works as authentic. They do so, inevitably, by finding our blind spots, and by exploiting our common-sense assumptions. When they're caught (if they're caught), the scandal that ensues is their accidental masterpiece. Learning that we've been defrauded makes us anxious -- much more so than any painting ever could -- provoking us to examine our poor judgment. This effect is inescapable, since we certainly didn't ask to be duped. A forgery is more direct, more powerful, and more universal than any legitimate artwork.
You have to understand that to a boy of the 1970s, the line between comic books and real life people was hopelessly blurred. Was Steve Austin, the Six Million Dollar Man, real or fake? Fake? Well, then, how about Evel Knievel jumping over busses on his motorcycle? Oh, he was real. The Superman ads said, "You will believe a man can fly," and Fonzie started jukeboxes by simply hitting them, and Elvis Presley wore capes, and Nolan Ryan threw pitches 102 mph, and Roger Staubach (who they called Captain America) kept bringing the Cowboys back from certain defeat, and Muhammad Ali let George Foreman tire himself out by leaning against the ropes and taking every punch he could throw. What was real anyway?
For his Alpha Beauties project, artist Nazareno Crea retouches paintings and sculpture from throughout history, a process which normalizes each period's ideal of female beauty to that of the present day. That is, much skinnier, with smaller noses, higher cheekbones, and larger breasts.
A nascent trend on YouTube is to take contemporary dramas and imagine what their 1995-style opening credits sequences might look like. The first one appears to be this Walking Dead one, followed by Breaking Bad, which is the best of the bunch:
The third episode of the first season of Charlie Brooker's Black Mirror was called The Entire History of You, in which many people have their entire lives recorded by implants. Brooker's take on the self-recorded future and Google's rosier view meet in this video:
Black Mirror is currently in its second season in the UK, with no US release on the horizon. Here's what one of the season two episodes is about:
A CG character from a TV show is jokingly put forward to become a member of Parliament. The actor behind the character is uneasy about this new political world he's found himself in, and as the character's popularity among voters increases things begin to take a turn for the worse.
Full disclosure: this article exists so I can tell you all about Grand Theft Auto: San Andreas: Kirk Douglas. Just look at it! It's exquisite. The game itself is as grand as the cover. It is San Andreas, with the load screens replaced by EXTREME closeups of Kirk Douglas-and occasionally his son Michael Douglas, because hey, close enough, right? In the game, the main character appears to be a rough approximation of Kirk Douglas. Oh, and all the missions have been removed, so there's nothing to do.
I do not doubt RoboCop's commitment to Sparkle Motion.
Jonason Pauley and Jesse Perrotta reshot all 80 minutes of Toy Story in live action -- with a Woody doll, a Mr. Potatohead, human actors, and the like.
The pair say that folks at Pixar gave them their approval (sorta kinda) to post it online.
CHARLIE: Have you spoken to Pixar and what have they said? Followup question: Are there unmarked black sedans with dudes in suits outside your house right now?
JESSE: We just got back from visiting Pixar a few days ago. We weren't invited inside, but we were allowed to pass out DVD's of our movie to Pixar employees. We have spoken to one of the lead guys at Pixar on Twitter a little bit, and his attitude was positive towards the whole thing. We never got an official word on if it was okay to put it on Youtube though. And about the sedans... haven't seen them yet, haha!
JONASON: Jesse pretty much covered it. Some of the Pixar employees that we talked to asked if it was online, so I took that as "it should be online" We put it off for a long time because we wanted to make sure it would be alright.
REWORK_ is an album of Philip Glass's music remixed by the likes of Beck, Amon Tobin, and Nosaj Thing. There is also an interactive iOS app that lets you play around and remix your own Glass compositions.
REWORK_ features eleven "music visualizers" that take the remixed tracks and create interactive visuals that range from futuristic three-dimensional landscapes to shattered multicolored crystals, and vibrating sound waves. People can lean back and enjoy REWORK_ end to end, or they can touch and interact with the visualizers to create their own visual remixes.
In addition to the visualizers, the app includes the "Glass Machine" which lets people create music inspired by Philip Glass' early work by simply sliding two discs around side-by-side, almost like turntables. People can select different instruments - from synthesizer to piano, and generate polyrhythmic counterpoints between the two melodies.
The app was made by Scott Snibbe's studio...I fondly recall his Java applets. (BTW, "fondly recall his Java applets" is neither a euphemism nor something that anyone will understand 5-10 years from now.)
The Infinite Jukebox analyzes the self-similarity of music to create neverending and everchanging versions of songs.
The app works by sending your uploaded track over to The Echo Nest, where it is decomposed into individual beats. Each beat is then analyzed and matched to other similar sounding beats in the song. This information is used to create a detailed song graph of paths though similar sounding beats. As the song is played, when the next beat has similar sounding beats there's a chance that we will branch to a completely different part of the song. Since the branching is to a very similar sounding beat in the song, you (in theory) won't notice the jump. This process of branching to similar sounding beats can continue forever, giving you an infinitely long version of the song.
Love this idea. How could I not with disclaimers like this?
you can get stuck in a strange attractor at the end of Karma Police for instance
Some genius paired 50 Cent's In Da Club with a video put out by the Jehovah's Witnesses to encourage deaf people not to masturbate. This is probably inappropriate or deafist or whatever, but it also provided me with a much-needed tears-rolling-down face laugh the other day.
For the next two weeks, Christian Marclay's 24-hour supercut of clocks from movies will be on display at Lincoln Center. The Clock shows Tue-Thu from 8am to 10pm and continuously over the weekend.
The Clock is a spectacular and hypnotic 24-hour work of video art by renowned artist Christian Marclay. Marclay has brought together thousands of clips from the entire history of cinema, from silent films to the present, each featuring an exact time on a clock, on a watch, or in dialogue. The resulting collage tells the accurate time at any given moment, making it both a work of art and literally a working timepiece: a cinematic memento mori.
Admission is free, the space air-conditioned, and the couches only slightly uncomfortable. Seating capacity is 96, so the venue is posting updates on Twitter about how long the line is. I popped in earlier today expecting to wait 20 minutes or more and walked right in...quicker than the Shake Shack. I think the MoMA is supposed to be showing it in the next year or two and that is sure to be a complete mob scene so this is your chance to check it out with relative ease.
Marclay had a dangerous thought: "Wow, wouldn't it be great to find clips with clocks for every minute of all twenty-four hours?" Marclay has an algorithmic mind, and, as with Sol LeWitt's work, many of his best pieces have originated with a conceit as straightfoward as a recipe. The resulting collage, he realized, would be weirdly functional; the fragments, properly synched, would tell the time as well as a Rolex. And, because he'd be poaching from a vast number of films, the result would offer an unorthodox anthology of cinema.
There were darker resonances, too. People went to the movies to lose track of time; this video would pound viewers with an awareness of how long they'd been languishing in the dark. It would evoke the laziest of modern pleasures-channel surfing-except that the time wasted would be painfully underlined.
This is amazing...a trailer for a musical version of The Wire done by Funny or Die. Featuring real cast members from the show like Michael K. Williams as Omar, Felicia Pearson as Snoop, and Andre Royo as Bubbles.
For her project My Pie Town, Debbie Grossman modified Depression-era photos to depict all-female families.
Joan Myers' biography of Doris Caudill (Doris is in many of the pictures), Pie Town Woman, describes her husband, Faro, as less than helpful on the homestead. I had downloaded a portrait of Doris and Faro from the Library of Congress website, and because it was so high-resolution, it occurred to me that I had enough pixels to work with that I could alter the image. I removed Faro, and I loved the opportunity to look at Doris on her own and imagine a different life for her. I thought it would be fun to remake the whole town in a way that reflected my own family, and I imagined a Pie Town filled with women.
The main reason for doing so was to give us the unusual experience of getting to see a contemporary idea of family (female married couples as parents, for example) as if it were historical. But I am also very interested in using Photoshop to create imaginary or impossible images-this is something I have done in other work as well.
Whats most shocking is that with only 85 minutes of footage, Topher was able to completely tell the main narrative of Anakin Skywalker's road from Jedi to the Sith. While I know the missing pieces and could even fill in the blanks in my head as the film raced past, none of those points were really needed. Whats better is that the character motivations are even more clear and identifiable, a real character arc not bogged down by podraces, galactic senates, Jar Jar Binks, politics or most of the needless parts of the Star Wars prequels. It not only clarifies the story, but makes the film a lot more action-packed.
You've probably seen the NY Times correction that everyone's talking about. Ok, not everyone, just everyone who works in media. Anyway, here it is:
An article on Monday about Jack Robison and Kirsten Lindsmith, two college students with Asperger syndrome who are navigating the perils of an intimate relationship, misidentified the character from the animated children's TV show "My Little Pony" that Ms. Lindsmith said she visualized to cheer herself up. It is Twilight Sparkle, the nerdy intellectual, not Fluttershy, the kind animal lover.
I was accompanying Kirsten to school, taking notes on my laptop as she drove. She was listening to music on her iPod known to Pony fans as "dubtrot," -- a take-off on "dubstep,'' get it? -- in which fans remix songs and dialogue from the show with electronic dance music.
Dubstep music relating to My Little Pony: Friendship is Magic. Often created by bronies, dubtrot can include dubstep remixes of songs from the show and original pieces created as homage or in reference to the show.
There is a sense amongst my generation that Michael Winslow's best performing days are behind him. (You'll remember Winslow as Officer Sound Effects from Police Academy.) After all, we live in the age of the beatboxing flautist. You might change your tune after watching Winslow do Zeppelin's Whole Lotta Love. The first 28 seconds are like, oh, I've heard this before yawn zzzzzzzzzz WHOA, WHERE THE HELL DID THAT GUITAR NOISE COME FROM??!
And then it goes bananas right around 1:30. This is a must-see. (via @beep)
If the Instagram effect can make mundane images appear to be works of art, what happens when we apply the same filters to images that have historically been held in high regard? Is the imagery degraded or enhanced as a result?
Wow. Someone is making a video game featuring the original Super Mario Bros worlds but Mario is outfitted with a Portal gun. Watch the demo:
More information on the game's development is here.
Yes, this is an actual game being developed - it is not a mod of any existing one. It's coded with L"ove (info at the bottom of the left menu) and will be released for free (so we don't get stabbed by lawyers)
All the source code of the game will be available after release
The game will have mappacks, which will be downloadable from ingame. Users most likely won't be able to publish maps directly, but will be able to send them in and we'll add them for everyone to use.
The primary maps will have a story and some portaly puzzles. What kind, well, we'll figure that out as we go
Level editor will be embedded in the game so you can edit the level while you play
Original SMB levels and Lost levels will be included
I hope that every time Jay leaves the house, he sees these posters -- and as he looks at them or tries to tear them down he thinks about how evil what he did was. Maybe he'll realize that at some level all art borrows from other art, and suing another artist for fair use appropriation undermines all artists. Maybe he'll feel guilty about being such a thief. And then maybe he'll think about giving that money back -- or donating it to charity or something. But probably not.
Something tells me this isn't going to end well. (via @jakedobkin)
After seven months of legal wrangling, we reached a settlement. Last September, I paid Maisel a sum of $32,500 and I'm unable to use the artwork again. (On the plus side, if you have a copy, it's now a collector's item!) I'm not exactly thrilled with this outcome, but I'm relieved it's over.
But this is important: the fact that I settled is not an admission of guilt. My lawyers and I firmly believe that the pixel art is "fair use" and Maisel and his counsel firmly disagree. I settled for one reason: this was the least expensive option available.
At the heart of this settlement is a debate that's been going on for decades, playing out between artists and copyright holders in and out of the courts. In particular, I think this settlement raises some interesting issues about the state of copyright for anyone involved in digital reinterpretations of copyrighted works.
Unfortunately, Baio's post does nothing to dissuade me that Maisel is a joyless putz. Seeing this kind of behavior from large clueless companies is almost expected but from a a fellow creative artist? Inexcusable. Surely some reasonable arrangement could have been made without visiting enormous stress and a $30K+ bill onto a man with a young family. Disgusting.
It's a little more chill than their usual stuff -- "Trillwave is the soundtrack to the party after the afterparty or maybe to a sun-drenched backyard barbecue the next day" -- but I like it a lot so far. (via @djgeekdout)
"I invented nothing new. I simply assembled the discoveries of other men behind whom were centuries of work. Had I worked fifty or ten or even five years before, I would have failed. So it is with every new thing. Progress happens when all the factors that make for it are ready and then it is inevitable. To teach that a comparatively few men are responsible for the greatest forward steps of mankind is the worst sort of nonsense." -- Henry Ford
FYI: the credits are actually in the middle of the video...there's another few minutes of material after they run.