Projection

OM Ungers remixed in a simply jawdropping architectural projection. It's surely what pixellated cubic postmodernism was invented for.

(via)

Objects

Why? Why not.

Daft fun as Dylan Chandler scrolls through the contents of his home at high speed (which weirdly seems to make a bleepy electronic noise in my head), like some crazy one-armed bandit.

Via on twitter.

Micro-knitting

I've been following news of the new movie of Coraline, not least via twitter and Neil Gaiman's account of the relentless press junket itinerary for him and Director Henry Selick. It looks amazing.

On something of a tangent, but a fascinating one, is the work of Athea Crome for the film. Her extraordinary skill is micro-knitting, and a short film of her talking about it is featured here.

95 years on

Years ago I had a book containing milestones from the history of photography. Included in it was Henri Lartigue's 1913 image of a racing car, speeding past the camera. The shutter action moved vertically from top to bottom, and as it did so transferred the light
onto the plate. With the pace of the car, the time which the shutter slit took to scan the lens became significant, such that circular
wheels were captured as ovals. So, I believe, the inspiration for Roadrunner's leg action was born.

Now idly snapping from the train to Sheffield, I find that by turning my iPhone to landscape format I can reproduce the same effect. We've clearly come a long way in 95 years.

Mykonos

The great Fleet Foxes were an enchanting diversion last year while the economy careened down a slippery slope. I remember listening to Mykonos first while walking across Birmingham's city centre on a sunny April day, and the song has retained its charm through 50 or more plays (according to my iTunes).

A video of the song has been released by Grandchildren, and having just watched it I can't help feeling a little disappointed. The character of the two halves of the song doesn't seem to have been accurately captured. To me, the first half has a soaring, aerial quality, bathed in a Greek sun - blue, white and olive green. The second half is earth-bound, acappella changing to an assertive, insistent 4/4 rhythm, before a loping reggae conclusion. As it concludes in this half, the words and music seem to begin on a hilltop, before running and skipping downhill across a pastoral landscape.

Apart from the crafted Oliver Postgate quality there seemed to be little to connect the images to the music or the band, despite the worthy efforts of tackling a stop motion process.