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February 18 2016

June 20 2015

June 10 2015

Trailer for Beats of the Antonov, by Hajooj Kuka:

The separation of Sudan into two sovereign states has not prevented the longest civil war in the African continent from raging on to this day. The inhabitants of the Blue Nile and Nuba Mountain regions, having fought for the independence of South Sudan, continue to fight for their cultural, ethnic, social, and economic rights. With Beats of the Antonov, director Hajooj Kuka provides an inspiring account of how cultural heritage and creative traditions can defy the indignity of displacement.

Kuka has been documenting the farmers, herders, and rebels of the Blue Nile and Nuba Mountain areas since October 2012. For the past two years, they have had to assemble in mountain hideouts and refugee camps to find shelter from air raids waged by the Sudanese government, which targets civilians indiscriminately using Russian-made Antonov cargo planes. After a raid, it is not unusual to hear laughter and music ring out from these communities — not just out of relief that lives have been spared, but also as a means of safeguarding the community’s collective memory.

Beats of the Antonov focuses on the everyday survival of people who have lost kin, homes, and livelihoods in the ongoing conflict, but instead of devastation and defeat, we discover communities emboldened to celebrate their heritage, and to improvise creative ways to continue harvesting crops and herding cattle. With inspiring lucidity, Kuka threads together the voices — speaking and singing — of militants, social workers, intellectuals, and other everyday folk, to reverse conventional representations of victimhood and reveal an alternative narrative of tenacity and resilience.

Read more about the film at “Music of resistance in Sudan’s rebel regions.”

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Cover of Airborne Camera: The World From Air and Outer Space, Beaumont Newhall, 1969 (photo by Kate Crawford)

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77 Ways to Design the Letter ’M’: Mass transit agencies around the world face the same conundrum: How to make what amounts to four straight lines distinctive.”

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Morehshin Allahyari on her Material Speculation: ISIS (Work in Progress):

“Material Speculation” is a digital fabrication and 3D printing project by Morehshin Allahyari that inspects Petropolitical and poetic relationships between 3D Printing, Plastic, Oil, Technocapitalism and Jihad.

The first series “Material Speculation: ISIS” is a 3D modeling and 3D printing project focused on the reconstruction of selected artifacts (statues from the Roman period city of Hatra and Assyrian artifacts from Nineveh) that were destroyed by ISIS in 2015.

“Material Speculation: ISIS” creates a practical and political possibility for artifact archival, while also proposing 3D printing technology as a tool both for resistance and documentation. It gives rise to cyclical oiliness; engaging and representing a process compressed through time, resin/plastic, digital process, and crude oil. It intends to use 3D printing as a tool and process for repairing history and memory.

“Material Speculation: ISIS”, goes beyond metaphoric gestures and digital and material forms of the artifacts by including a flash drive and a memory card inside the “body” of each 3D printed objects. Like Time Capsules, each object will be sealed and kept for future civilizations. The information in these flash drives includes images, maps, pdf files, and videos gathered in the last months on the artifacts and sites that were destroyed. These materials were sourced by an intense research process involving contacting different archeologists, historians, and museum staff (from British Museum to archeologists and historians in Iraq and Iran). Documentation is provided in Persian, Arabic, and English.

(via Suzanne Fischer)

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blech:

Fibre optic markers, from Internet (ongoing) by Dave Greer.

The most powerful dehumanizing machine is not technology but the social machine, i.e. the formation of command structures to make humans emulate technology in order to build pyramids and skyscrapers.
— Lewis Mumford, The Myth of the Machine (via stoweboyd via kenyatta, who adds: “Related: Joel Johnson’s Hello and Goodbye in Portuguese (Letters from the next economy)”)
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citiesofsound:

Anatomy of 1-year old stem of Ginkgo biloba: pith and xylem (primary and secondary)

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flaglog:

Tarragona

I think someone left the Catalan flag out in the sun for too long.

June 09 2015

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prostheticknowledge:

Shape of the World

Procedurally generative gaming experience where world around you materializes as you wonder through it has just launched a Kickstarter campaign. The video below is simply a walkthrough, no voiceover or case from the developer why to invest in it, and it looks beautiful:

[Kickstarter video embedded here]

Shape of the World is an exploration game where a rich and colorful world grows around you. Your presence is the driving force behind the procedurally populated environment as you establish permanent monuments to mark your journey.

Shape of the World builds on the ideas of experiential games like Journey, Flower and Proteus where health hearts and kill points don’t enter the equation. It’s an evolving world that grows with each step and hints at distant landmarks, encouraging you to delve deeper into the woods. Shape of the World offers a unique unfolding experience for those seeking an alternative to quest-driven adventure games.

You can find out more at the Kickstarter page here, or the shapeoftheworld Tumblr blog here.

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thuong-jieng:

scanned my face for the first time today. gonna do it again tomorrow, tbh

When we are in front of an abstract painting, we have the license to interpret in any way we want. Or music—music is a medium that we might not understand, but that we feel and enjoy. But in the case of cinema many expect to receive a clear and unified message, but what I’m suggesting is that a film could be experienced as a poem, a painting, or a piece of music.
Abbas Kiarostami  (via funeral via fansylla)
We need a lot of debate on what a smart house is good for, but I’m thinking an awareness of the needs of innocence would help this debate quite a lot.
— Bruce Sterling, “Casa Jasmina: The RAM House at Atelier Clerici” (via Anab Jain)
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Ex Libris Exhibition in Paris (one of several images), Jérémie Solomon (via visualgraphc via referencescout)

We cannot live in a world that is not our own, in a world that is interpreted for us by others. An interpreted world is not a home. Part of the terror is to take back our own listening, to use our own voice, to see our own light.
— St. Hildegard von Bingen (1098 - 1179) (via fansylla)
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awfulland (via omggifpop):

buffering_1990.gif for giphy x EO1

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granulator (via cargoclub):

Arrowheads - Foamular® insulation

There are different processes for making arrowhead (or clovis points). New research into Neanderthal spearheads and cutting tools has, in fact, revealed a method of flint knapping that serves as evidence for language. The complex process is called Preferential Levallois and produces ergonomic cutting tools and razor-sharp spearheads that can be re-sharpened easily. Because the method is so precise, it would require language to pass on and share.

See also Angus McCullough and #vaporfolk #hollyvoodoo.

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