So, I found this post on Booooooom last week and I couldn’t stop thinking about it or singing it in my head. I took a look at the comments and a lot of people remarked that this whole vocal loop thing is old, old news – which is true. I’ve even experimented with a loop and drum machine once. It was in college. Whatever.
In case this isn’t old news to you, here are a bunch of really great contenders mainly from the Roland Loop Station festival (which is a big deal in most places outside of the US. Just like soccer. Or football). However, the artists below may be proud prize winners but I still think they pale in comparison to Kawehi’s brilliance in song choice and straight sweetly vocaled finesse. See, she made the song even better than the original.
Obrist is a famed curator—one to look up to and be influenced and inspired by—both for his extraordinary ability to interview, but also generally for his breadth of knowledge and for being THE person to talk to about curating.
A: How do you go about putting together group exhibits?
H: I think it’s very much inspired by John Cage. Cage said that during a period of time he doesn’t just make music, but he also writes texts, he makes etchings, and a whole list of other things, and he does them in a different way so it’s not a linear situation, and I think with me it’s also overlapping a lot of layers. I’m not just a curator of exhibitions, but I write texts, I make interviews, I do films, I organize panels, and symposiums, and conferences, and research, so it’s a lot of parallel realities. It’s very non linear and then within these overlapping layers all of a sudden things emerge. And mostly it starts with a conversation with an artist. If there is an umbilical cord, it’s because I’ve got a very strong proximity to artists and that’s how ideas pop out.
//Zero1Magazine is a great read all throughout—site a little slow to load but worth the wait.
Quite a nice selection of work from Paris’ Atelier Müesli. “Our work isn’t restricted to just using the computer, we developed home-made process : woodcut, silkscreen and try to combine them to enrich the project.” Whatever it is they’re doing, they’re doing it right.
An inspiring motion graphic conceived by Hardy Seiler and executed with the help of his talented peers (yeah thats right, this is student work) for a fictional education tv-series. I am not Hardy’s professor but give this an A… for ace.
Apart from being home to the greatest soccer club on the planet (keep dreaming Evertonians), Liverpool is also a city with a flourishing art scene. Especially when it comes to the performing arts. Produced by the renowned street theatre company, Royal De Luxe, The Sea Odyssey is ‘a magical tale of love, loss and reunion played out on a gigantic scale’. Basically, giant puppets with crazy pulley systems stormed the streets of Liverpool this weekend to the awe of thousands of onlookers. How awesome is that?
The past few months have afforded me the opportunity to work on a couple of tv spots. I’m new to this game, but so far I’m finding it both incredibly fun and incredibly challenging. As a visual designer, I often find myself letting technique or aesthetic drive the concept instead of building from the core messaging.
Now bear with me on this analogy, and also know that the irony of me being an awful surfer is not lost here. When a surfer takes off paddling, they are looking for the sweet spot on the face of the wave that will drive them forward with enough to speed to allow for a smooth ride. Once they’ve got that speed & stability on their side, they can start carving up the wave and turn a steady ride into a beautiful one. The same is true for a commercial. You need to start by finding the core messaging that needs to be communicated. That’s what drives the spot forward. From that you can build a unique & (hopefully) beautiful spot through technique.
In the midst of concepting this month, Jonathan Gurvit got in touch to share some of his latest spots. I’m a fan.