Thanks to Kottke for finding this gem from the past. A Philip Glass composed piece that aired on Sesame Street to stimulate learning in children. My aunt just had a baby and it’s only now I realize just how wonderfully deranged the world of children learning videos are.

You’ll feel as though you’ve taken a few tabs after watching this strangely edited/remixed clip of Captain K on a voyage to the great beyond.
[via Nerdcore]

Ólafur Arnalds – Ljósið (Official Music Video) from Erased Tapes on Vimeo.

This is more a beautiful visualization than music video, but it’s enchanting to the eyes nonetheless. Whispy colorful plumes of smoke moving to the melodies of this song.

[Kids Poison Game via TDW]

Words can’t properly describe the enjoyment I get out of seeing these highly-stylized videos for the Beatles Rock Band. Great use of digital motion graphics in conjunction with what looks like hand-drawn animation to create something wholly befitting as a modern day take on the seminal band. Somehow I imagine these minute-long videos will still trounce the crap out of the completely unncessary remake of Yellow Submarine.

Quite the site to behold. I’ll save any snarky remark and just graciously thank LA Times or whatever intern they set to document all the dispensaries on Los Angeles in a Google interactive map.

AIR MUSIC VIDEO SING SANG SONG from MATHEMATIC SAS on Vimeo.

A fantastic trippy ‘lil video for Air’s newest single. Now if they released a companion DVD with videos to all the songs in this visual style, I’d be a happy man.

Just what is Food + Sex Magazine? Even I’m not completely sure despite what they say:

Collage art food magazine, Food + Sex, is a combined effort of artists, writers, farmers and foodmakers exploring how desire shapes the food environment. By weaving erotic, shocking and thoughtful layers of beauty, wildness and the human spirit, we peer into the fire of hope and fear to find the hidden, seek the cosmic and reflect on the elemental connectedness in life that opens us to new ways of being. Included in its pages are a visual patchwork of uncommon art, essays and excerpts by thinkers, makers and doers from the food underground and beyond.

A hippy-esque idealogy presented through snug little essays sandwiched between high-end designs, it seems. Their debut magazine is available for preview and gives some sort of glimpse for what they’re going for. Though one of their most intriguing stories about psychedelic mushrooms, titled “Tripping Balls on the Magic Penis” seems to have been already been printed in a previous issue of Vice.


[via Eat Me Daily]

L.A.-based, world-renowned experimental noise pop duo No Age will appear live at the Cinefamily to perform their brand-new score for Jean-Jacques Annaud’s majestic 1988 film The Bear, a near-wordless cinematic expedition deep into the savagery and tenderness of the animal kingdom. Told from the titular species’ point of view, The Bear chronicles the journey of an orphan bear cub and a lone adult bear banding together to avoid two human hunters. Along the way, director Annaud has great fun with the storytelling possibilities from a non-human perspective, including dream sequences and an unforgettable psychdelic mushroom bear trip! With nearly no (human) dialogue, the film easily lends itself to live scoring, and No Age drummer Dean Spunt and guitarist Randy Randall have crafted a shimmering 90-minute set of sonic blasts and delicate textures that perfectly complement the peculiar, touching and altogether unique experience that is The Bear.

Having been to a live-scored Cinefamily film before (Bergman’s Magician) I can vouch that they are a complete and utter treat to behold. Now take one of LA’s more prominent bands in recent years and combine their sonic accompaniments to an epic film from THE PERSPECTIVE OF A BEAR. No better way to spend a Sunday evening I’d say.


8/30 @ 8pm + 1030pm // THE BEAR w/ No Age

These light paintings are the work of acclaimed photographer Dean Chamberlain. Exploring the medium of photography using a highly original technique, which includes radically extended exposure times (up to 5 hours), the artist “paints” the light onto each element in the frame, methodically and delicately illuminating the composition inch by inch. Using a variety of light sources and an extensive palette of colors, Chamberlain creates deeply luminous yet mysterious documents of the human experience.

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