<?xml version="1.0" encoding="UTF-8"?>
 <rdf:RDF xmlns="http://purl.org/rss/1.0/" xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#" xmlns:content="http://purl.org/rss/1.0/modules/content/" xmlns:taxo="http://purl.org/rss/1.0/modules/taxonomy/" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:cc="http://web.resource.org/cc/" xmlns:syn="http://purl.org/rss/1.0/modules/syndication/" xmlns:admin="http://webns.net/mvcb/">
  <channel rdf:about="http://pinboard.in">
    <title>Pinboard (robertogreco)</title>
    <link>https://pinboard.in/u:robertogreco/public/</link>
    <description>recent bookmarks from robertogreco</description>
    <items>
      <rdf:Seq>	<rdf:li rdf:resource="https://vimeo.com/1189456423"/>
	<rdf:li rdf:resource="https://www.thisiscolossal.com/2026/03/isamu-noguchi-animated-unbuilt-playgrounds/"/>
	<rdf:li rdf:resource="https://kottke.org/26/02/0048185-some-cool-animations-made"/>
	<rdf:li rdf:resource="https://www.youtube.com/watch?v=56EG957YinM"/>
	<rdf:li rdf:resource="https://www.nytimes.com/interactive/2025/09/03/magazine/anime-manga-pokemon-demon-slayer-dragon-ball-z.html"/>
	<rdf:li rdf:resource="https://www.beyondthedial.com/post/podcast-the-final-episode-through-the-looking-glass-on-philosophy-watches/"/>
	<rdf:li rdf:resource="https://kottke.org/24/12/crazy-football-commentary-animated?"/>
	<rdf:li rdf:resource="https://aeon.co/videos/the-stream-of-consciousness-thoughts-and-memories-that-emerge-while-cooking-a-meal"/>
	<rdf:li rdf:resource="https://www.youtube.com/watch?v=3zTK_jCp89M"/>
	<rdf:li rdf:resource="https://www.youtube.com/watch?v=mX_Qe2HKuEA"/>
	<rdf:li rdf:resource="https://www.youtube.com/watch?v=IgV8wMnCkeQ"/>
	<rdf:li rdf:resource="https://www.thelineanimation.com/work/chobani"/>
	<rdf:li rdf:resource="https://cabel.com/2024/02/13/firehouse-five-and-the-cinderella-surprise/"/>
	<rdf:li rdf:resource="https://www.filmsforaction.org/watch/this-land-is-mine/"/>
	<rdf:li rdf:resource="https://www.theverge.com/2023/9/8/23864374/procreate-dreams-animation-app-ipad-release-date-announcement-price"/>
	<rdf:li rdf:resource="https://www.theverge.com/23797349/how-do-you-live-review-studio-ghibli-hayao-miyazaki"/>
	<rdf:li rdf:resource="https://www.youtube.com/watch?v=WRr5uRmkNaQ"/>
	<rdf:li rdf:resource="https://vimeo.com/772225816"/>
	<rdf:li rdf:resource="https://www.accutronwatch.com/blogs/podcast/the-storytelling-power-of-virtual-reality-with-shari-frilot"/>
	<rdf:li rdf:resource="https://www.youtube.com/watch?v=oSCj8H4TGTo"/>
	<rdf:li rdf:resource="https://two.compost.digital/clock-basket-no-1/"/>
	<rdf:li rdf:resource="https://tinytools.directory/"/>
	<rdf:li rdf:resource="https://orionmagazine.org/article/the-worlds-of-hayao-miyazaki/"/>
	<rdf:li rdf:resource="https://www.youtube.com/watch?v=idT98H8TK-U"/>
	<rdf:li rdf:resource="https://elizabethito.com/"/>
	<rdf:li rdf:resource="https://www.youtube.com/watch?v=3erffO75QCs"/>
	<rdf:li rdf:resource="https://www.youtube.com/watch?v=I85zkLP7kls"/>
	<rdf:li rdf:resource="https://watch.supernova.video/supernova-2020-official-program-previews/videos/hypnotic-devices-program-preview"/>
	<rdf:li rdf:resource="https://remezcla.com/features/film/interview-nahuel-libro-magico-mapuche-animation/"/>
	<rdf:li rdf:resource="https://www.artofthetitle.com/title/style-frames-2016/"/>
	<rdf:li rdf:resource="https://iorama.studio/"/>
	<rdf:li rdf:resource="https://www.theparisreview.org/blog/2018/10/22/hayao-miyazakis-cursed-worlds/"/>
	<rdf:li rdf:resource="https://github.com/IanLunn/Hover"/>
	<rdf:li rdf:resource="http://matthewrayfield.com/articles/animating-urls-with-javascript-and-emojis/"/>
	<rdf:li rdf:resource="https://www.wired.com/story/future-book-is-here-but-not-what-we-expected/"/>
	<rdf:li rdf:resource="https://www.theverge.com/2018/12/5/18055980/better-worlds-science-fiction-short-stories-video"/>
	<rdf:li rdf:resource="https://twitter.com/JonnyDoLake/status/1014581286764244992"/>
	<rdf:li rdf:resource="https://www.youtube.com/watch?v=8DfOPRryKn8"/>
	<rdf:li rdf:resource="https://theweek.com/articles/747423/sterilization-condorito"/>
	<rdf:li rdf:resource="https://en.wikipedia.org/wiki/Your_Name"/>
	<rdf:li rdf:resource="https://www.youtube.com/user/theartassignment/about"/>
	<rdf:li rdf:resource="https://en.wikibooks.org/wiki/Blender_3D:_Noob_to_Pro"/>
	<rdf:li rdf:resource="https://www.khanacademy.org/partner-content/pixar/storytelling/we-are-all-storytellers/v/video-5-launch"/>
	<rdf:li rdf:resource="http://www.lelandkfoster.com/"/>
	<rdf:li rdf:resource="http://www.nytimes.com/2016/12/14/science/nasa-giphy.html"/>
	<rdf:li rdf:resource="https://twitter.com/saint11/status/803206812661059584"/>
	<rdf:li rdf:resource="https://twitter.com/Bandygrass/status/809420271769686016"/>
	<rdf:li rdf:resource="https://www.youtube.com/watch?v=xf0WjeE6eyM"/>
	<rdf:li rdf:resource="https://blog.google/products/earth/our-most-detailed-view-earth-across-space-and-time/"/>
	<rdf:li rdf:resource="http://www.nicolassassoon.com/"/>
	<rdf:li rdf:resource="http://www.economist.com/blogs/prospero/2016/08/don-t-need-no-education"/>
	<rdf:li rdf:resource="https://dunin.itch.io/ptop"/>
	<rdf:li rdf:resource="http://tulpinteractive.com/spirograph/"/>
	<rdf:li rdf:resource="http://animagraffs.com/how-a-car-engine-works/"/>
	<rdf:li rdf:resource="http://charactermodel.tumblr.com/"/>
	<rdf:li rdf:resource="http://www.brianfolts.com/driver/"/>
	<rdf:li rdf:resource="http://digitalmateriality.com/"/>
	<rdf:li rdf:resource="http://mixtur.es/normals/esthetics-of-variability/normaltypev154/"/>
	<rdf:li rdf:resource="https://www.washingtonpost.com/news/the-intersect/wp/2015/11/20/an-army-of-history-nerds-is-turning-archival-material-into-beautiful-gifs/"/>
	<rdf:li rdf:resource="https://www.vice.com/read/chinas-first-net-art-exhibition-113"/>
	<rdf:li rdf:resource="http://www.watchyulelog.com/#/"/>
	<rdf:li rdf:resource="https://www.tumblr.com/explore/made-with-tumblr"/>
	<rdf:li rdf:resource="https://www.youtube.com/watch?v=52raDbtNpa4"/>
	<rdf:li rdf:resource="http://www.mooooooving.com/"/>
	<rdf:li rdf:resource="http://fruitsoftheweb.tumblr.com/"/>
	<rdf:li rdf:resource="http://lego.gizmodo.com/making-stop-motion-lego-movies-is-easier-with-phonetic-1731687599"/>
	<rdf:li rdf:resource="http://www.modernpolaxis.com/"/>
	<rdf:li rdf:resource="http://www.slate.com/articles/life/the_history_of_american_slavery/2015/06/animated_interactive_of_the_history_of_the_atlantic_slave_trade.html"/>
	<rdf:li rdf:resource="https://source.opennews.org/en-US/learning/power-loops/"/>
	<rdf:li rdf:resource="http://www.lindadong.com/blog/keynotemotiongraphic"/>
      </rdf:Seq>
    </items>
  </channel><item rdf:about="https://vimeo.com/1189456423">
    <title>Our Uniform | Videos &amp; Movies on Vimeo</title>
    <dc:date>2026-05-27T08:39:45+00:00</dc:date>
    <link>https://vimeo.com/1189456423</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In this Oscar-nominated animated short, the filmmaker revisits her childhood, recalling the experience of wearing a hijab as a young schoolgirl. The uniform becomes a quiet force that shaped her understanding of girlhood—defined by what was forbidden rather than what was allowed.

Uploaded on May 5, 2026 at 9:58 am

#women #uniform #school #Iran"

[via:

"How much of our identity is sewn into the clothes we wear? | Psyche Videos"
https://psyche.co/videos/how-much-of-our-identity-is-sewn-into-the-clothes-we-wear

"How much of our identity is sewn into the clothes we wear?

‘People have different colours and patterns and textures, for they have tried different uniforms.’

In the Oscar-nominated short Our Uniform, the Iranian animator Yegane Moghaddam explores the interplay between clothing and identity by revisiting her memories of attending an all-girls school in Tehran, where the mandatory uniform included a hijab. Moghaddam’s inventive visual style melds paint on fabric with stop-motion animation, making garments the canvas on which she explores themes of constraint, freedom and womanhood. As she connects her personal experience to broader questions of how clothing can shape the self, Moghaddam is careful to distinguish between imposed dress codes and personal choice. Her film is not a critique of the hijab itself, but a reflection on how identity can be sewn into what we choose – or do not choose – to wear."]]]></description>
<dc:subject>clothing identity uniforms schools schooling animation film hijab tehran iran yeganemoghaddam</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:263c49ffb67b/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:clothing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:identity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:uniforms"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:schools"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:schooling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:film"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:hijab"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tehran"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:iran"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:yeganemoghaddam"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.thisiscolossal.com/2026/03/isamu-noguchi-animated-unbuilt-playgrounds/">
    <title>An Animated Look at Noguchi's Experimental Playgrounds That Were Never Built — Colossal</title>
    <dc:date>2026-03-10T20:30:29+00:00</dc:date>
    <link>https://www.thisiscolossal.com/2026/03/isamu-noguchi-animated-unbuilt-playgrounds/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["“I think of playgrounds as a primer of shapes and functions; simple, mysterious and evocative; thus educational,” Isamu Noguchi said in a pamphlet about his Playscapes. Perhaps best known for his stone sculptures and Akari lamps, the Japanese artist and designer always had an eye on the spaces that define childhood, particularly public playgrounds and their influence on the young mind.

In 1933, Noguchi proposed redeveloping an entire New York City block into “Play Mountain,” an enormous topographical project that would be unstructured and open-ended. Rather than have swings and swift metal slides, for example, Noguchi wanted earthen steps, a bandshell, and a large hill for sledding and gathering. The idea was that it could be just as fun in the winter as in the summer and stimulate kids’ imaginations more than the prescriptive equipment typical in urban parks. Then-Parks Commissioner Robert Moses rejected the plan, though, and despite efforts to have the project and others of Noguchi’s designs built in New York, none were ever realized in the city.

[embed: notes below]

"A series of short animations recreates this lesser-known history. Using hand-painted celluloid under a Rostrum camera, Eastend Western imagines what these never-built playgrounds would have looked like—and how children may have interacted with the unconventional structures. There are concrete mounds with cavernous openings, labyrinthine sand gardens, and asymmetrical equipment that could teach users that “the rate of swing is determined by the length of the pendulum,” the film says.

The animations were produced in conjunction with the exhibition Noguchi’s New York, which is on view through September 13 at The Noguchi Museum. There’s also a new monograph that dives into the artist’s playgrounds and is a companion to a major retrospective at the High Museum of Art, available for pre-order on Bookshop. Find the full film series on YouTube."

[embed notes:

playlist:

"Noguchi's New York — Animated Playgrounds (2026) - YouTube"
https://www.youtube.com/playlist?list=PLjjwFd0wbYEi2PcyVJJR8B3Us2k27aetX

"Eastend Western presents five animated films entirely hand painted over 1,800 celluloids, inspired by Isamu Noguchi's unrealized playground proposals for the city of New York. They were produced as part of the exhibition ‘Noguchi’s New York', curated by Kate Wiener, and on display February 4 — September 13, 2026 at the Noguchi Museum."

The playlist contains the following short animations.

"Play Mountain 1933 — Noguchi's New York Animations"
https://www.youtube.com/watch?v=tRtr6kc_hhM

"Noguchi’s first major proposal for New York City was Play Mountain (1933), an ultimately unrealized design for a mountain playground meant to occupy a full city block or a section of Central Park. Replete with graded steps for climbing, a water slide, a slope for sledding in winter, a bandshell, and an indoor family center, Play Mountain was envisioned as a multifunctional landscape for open-ended play, exploration, and gathering. This animated film imagines how kids would have interacted with Play Mountain on a snowy day.

This film was entirely hand painted on celluloid and captured under a rostrum camera.

Directed by Nicolas Ménard & Jack Cunningham, Eastend Western

Produced as part of the exhibition ‘Noguchi’s New York'
The Noguchi Museum
February 4 — September 13, 2026
Curated by Kate Wiener, Noguchi Museum Curator

https://www.noguchi.org/museum/exhibitions/view/noguchis-new-york/

Composer: James Hatley
Animator: Isaac Holland
Painting Assistants: Laura N-Tamara, Laurence Thérien"

"Playground Equipment 1940 — Noguchi's New York Animations"
https://www.youtube.com/watch?v=XDFV6xOKhxw

"In 1941, Noguchi presented the New York City Parks Department with newly designed models for “playground equipment,” which he had initially conceived for a park in Hawaii. He hoped these playable sculptures would be both fun and educational—the multiple-length swings, for instance, could teach a child that “the rate of swing is determined by the length of the pendulum.” Although these designs were more in line with the conventional playgrounds promoted by Parks Commissioner Robert Moses, they were still deemed too experimental and potentially dangerous. This animated film explores how Noguchi used lines and solid shapes as building blocks for his sculptures' graphic language."

"Contoured Playground 1941 — Noguchi's New York Animations"
https://www.youtube.com/watch?v=3pg0w_ssEh4&list=PLjjwFd0wbYEi2PcyVJJR8B3Us2k27aetX&index=4

"In defiant response to the New York City Parks Department’s rejection of his “playground equipment,” which they considered too experimental and potentially dangerous, Noguchi conceived of Contoured Playground (1941). He considered this playable landscape “made entirely of earth modulations” to be “fail-proof for the simple reason that there was nothing to fall off.” Noguchi envisioned children freely exploring Contoured Playground’s mounds and depressions without explicit instructions, empowered to “confront the earth as perhaps early man confronted it.” A photograph of the model shows that Noguchi also experimented with adding play equipment including a seesaw, swing set, and climbable tree. Although there was some initial interest in placing Noguchi’s proposal in Central Park, the outbreak of World War II arrested any progress. After the war, Noguchi continued lobbying Moses to consider Contoured Playground, but to no avail. This animated film is a poetic investigation of Noguchi's vision, a journey from a moon-like landscape to the middle of the city."

"United Nations Playground 1951-52 — Noguchi's New York Animations"
https://www.youtube.com/watch?v=aHffNz0djyY

"In 1951, Noguchi attempted to construct a playground on the New York City campus of the United Nations Headquarters. Working with architect Julian Whittlesey, Noguchi designed a wonderland of mounds, tunnels, caves, slides, and climbing structures for open-ended exploration. Although outside funds had been raised, United Nations officials ultimately caved to pressure to kill the project from Parks Commissioner Robert Moses, who was acting as a liaison between the UN and the city. This animated film explores different angles of some of the most interesting elements from that playground."

"Riverside Playground 1961-65 — Noguchi's New York Animations"
https://www.youtube.com/watch?v=B-7yk1znFBM

"Over the course of five years, Noguchi worked with architect Louis Kahn on designs for a four-block sculptural landscape for Riverside Park. Kahn and Noguchi devised plans for a subterranean community center surrounded by sculptural elements for congregation, exploration, and play, including triangular steps, a maze-like sand garden, an amphitheater, a slide mountain, and a band of concrete play sculptures. The project progressively shrunk in scale as they tried to appease demands from the City Art Commission, the Parks Department, and local community members, some of whom vehemently opposed what they saw as a desecration of parkland. By 1965, Noguchi was the closest he would ever come to fulfilling his decades-long dream of sculpting a playground for the city. Blueprints were drawn, funds secured, and a city contract signed, but the project ultimately fell through. Half the budget was promised from the city, and between a taxpayers’ lawsuit and objections from incoming mayor John V. Lindsay, who had vowed to address New York’s fiscal problems, plans were abandoned. Noguchi would later lament, “My best things have never been built.” This animated film offers a bird's-eye overview of parts of his original plan."

"Post Credit Scene — Noguchi's New York Animations"
https://www.youtube.com/watch?v=vWVkgsXxGik

"Drinking tea with the kids as they rest from a full day of playground activities, by the soft glow of Noguchi's Akari light sculptures."]]]></description>
<dc:subject>isamunoguchi animation play playgrounds 2026 1933 katewiener nicolasménard jackcunningham eastendwestern jameshatley isaacholland lauran-tamara laurencethérien 1940 1941 nyc 1951 1952 julianwhittlesey louiskahn riversidepark sculpture johnlindsay 1965 architecture design art robertmoses centralpark children publicart</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:1db4ed527605/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:isamunoguchi"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:play"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:playgrounds"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2026"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:1933"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:katewiener"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nicolasménard"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:jackcunningham"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:eastendwestern"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:jameshatley"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:isaacholland"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:lauran-tamara"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:laurencethérien"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:1940"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:1941"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nyc"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:1951"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:1952"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:julianwhittlesey"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:louiskahn"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:riversidepark"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sculpture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:johnlindsay"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:1965"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:architecture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:robertmoses"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:centralpark"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:children"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:publicart"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://kottke.org/26/02/0048185-some-cool-animations-made">
    <title>Some cool animations made from Japanese receipts by Michele Merlo.</title>
    <dc:date>2026-02-05T21:27:44+00:00</dc:date>
    <link>https://kottke.org/26/02/0048185-some-cool-animations-made</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[https://michelemerlo.net/

https://www.instagram.com/p/DTK68OjikIF/
https://www.instagram.com/kele.zero/reel/DO5ywskivEG/
https://www.instagram.com/reels/DQl8Vy5jMoh/ ]]]></description>
<dc:subject>michelemerlo animation receipts 2026 howto tutorials print</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:f8ca9c92d010/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:michelemerlo"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:receipts"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2026"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:howto"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tutorials"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:print"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.youtube.com/watch?v=56EG957YinM">
    <title>PAPERS - YouTube</title>
    <dc:date>2025-11-04T20:39:05+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=56EG957YinM</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["HP URL:http://henkama.web.fc2.com
えび天で公開した「PAPERS」の８ミリオリジナルを公開します。

後年、デジタルノンリニアでリストア再生した１分バージョンもどうぞ。
http://www.youtube.com/watch?v=1cmlaTIvd7I 

メール：foot15minutes@yahoo.co.jp "

[via: https://kottke.org/25/11/papers

"Papers is a 3-minute animated short film made by Yoshinao Satoh from what must be thousands of newspaper scans. The animation set to Different Trains by Steve Reich & Kronos Quartet. I love this style of collage animation."]]]></description>
<dc:subject>yoshinaosatoh film animation kronosquartet stevereich</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:c9c4e76735d6/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:yoshinaosatoh"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:film"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:kronosquartet"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:stevereich"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.nytimes.com/interactive/2025/09/03/magazine/anime-manga-pokemon-demon-slayer-dragon-ball-z.html">
    <title>How Anime Took Over America: From Pokemon to Demon Slayer and Dragon Ball Z - The New York Times</title>
    <dc:date>2025-09-10T06:44:37+00:00</dc:date>
    <link>https://www.nytimes.com/interactive/2025/09/03/magazine/anime-manga-pokemon-demon-slayer-dragon-ball-z.html</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>anime manga us culture media 2025 joshuahunt japan akira katsuhirootomo mamoruoshii ghostintheshell animation comics storytelling film tv television disney shonenjump funimation crunchyroll ianjamescorlett barrywatson toeianimation terryklassen dragonballz doraemon jasondemarco seanatkins toonami cartoonnetwork akiratoriyama pokémmon wb wutangclan liluzivert rap hiphopn music popculture</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:a722d988aae5/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:anime"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:manga"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:us"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:culture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:media"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2025"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:joshuahunt"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:japan"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:akira"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:katsuhirootomo"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mamoruoshii"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ghostintheshell"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:comics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:storytelling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:film"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tv"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:television"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:disney"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:shonenjump"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:funimation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:crunchyroll"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ianjamescorlett"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:barrywatson"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:toeianimation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:terryklassen"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dragonballz"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:doraemon"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:jasondemarco"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:seanatkins"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:toonami"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cartoonnetwork"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:akiratoriyama"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:pokémmon"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:wb"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:wutangclan"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:liluzivert"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:rap"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:hiphopn"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:popculture"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.beyondthedial.com/post/podcast-the-final-episode-through-the-looking-glass-on-philosophy-watches/">
    <title>Podcast - The Final Episode - Through the Looking Glass, On Philosophy &amp; Watches</title>
    <dc:date>2025-07-25T08:20:15+00:00</dc:date>
    <link>https://www.beyondthedial.com/post/podcast-the-final-episode-through-the-looking-glass-on-philosophy-watches/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Farewell, and thank you all for listening. The Aesthetic Revolution Will Be Beautiful!"

[Also here:
https://podcasts.apple.com/us/podcast/through-the-looking-glass-on-watches-philosophy-the/id1472733566?i=1000650769924
https://open.spotify.com/episode/5q14vURgxkB0UkRIXGBbxR ]]]></description>
<dc:subject>2024 allenfarmelo watches philosophy perspcetive mechanics culture social history design phenomenology newage wonder reflection time music literature poetry art visualart sculpture principles architecture film photography machines aesthetics beauty logic watchcanon atonishment curiosity admiration bewilderment technology expertise fascination displaycasebacks horology highhorology garyshteyngart mechanical rousseau mindset contemplation bulldozers animation animism soul timekeeping tools autonomy machineage enlightenment ai artificialintelligence thinking howwethink human humans consciousness humanism animals morethanhuman semiconductors computers computing abstraction robots androids innerworks bots life ingenuity creativity living math mathematics physics purpose knowledge morality ethics got religion plato theory astronomy ralphwaldoemerson inquiry empiricalevidence metaphysics being knowing substance cause identity timespace socialstucture senses mind lifeofthemind nature thoreau status hyperconsumerism c</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:ad743ac06680/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2024"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:allenfarmelo"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:watches"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:philosophy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:perspcetive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mechanics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:culture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:social"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:phenomenology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:newage"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:wonder"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:reflection"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:time"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:literature"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:poetry"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:visualart"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sculpture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:principles"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:architecture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:film"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:photography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:machines"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:aesthetics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:beauty"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:logic"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:watchcanon"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:atonishment"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:curiosity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:admiration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:bewilderment"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:technology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:expertise"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:fascination"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:displaycasebacks"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:horology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:highhorology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:garyshteyngart"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mechanical"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:rousseau"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mindset"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:contemplation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:bulldozers"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:soul"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:timekeeping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tools"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:autonomy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:machineage"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:enlightenment"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ai"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:artificialintelligence"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:thinking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:howwethink"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:human"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:humans"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:consciousness"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:humanism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animals"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:morethanhuman"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:semiconductors"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:computers"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:computing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:abstraction"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:robots"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:androids"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:innerworks"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:bots"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:life"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ingenuity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:creativity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:living"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:math"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mathematics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:physics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:purpose"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:knowledge"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:morality"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ethics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:got"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:religion"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:plato"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:theory"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:astronomy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ralphwaldoemerson"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:inquiry"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:empiricalevidence"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:metaphysics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:being"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:knowing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:substance"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cause"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:identity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:timespace"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:socialstucture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:senses"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mind"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:lifeofthemind"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nature"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:thoreau"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:status"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:hyperconsumerism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:c"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://kottke.org/24/12/crazy-football-commentary-animated?">
    <title>Crazy Football Commentary, Animated!</title>
    <dc:date>2024-12-29T05:15:11+00:00</dc:date>
    <link>https://kottke.org/24/12/crazy-football-commentary-animated?</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[two videos embedded:

"Crazy Football Commentary, Animated! COMPILATION (Parts 1-5)"
https://www.youtube.com/watch?v=56SSuXNnnJg

"Crazy Football Commentary, Animated! COMPILATION 2 (Parts 6-11)"
https://www.youtube.com/watch?v=IJfXDlj2a30 ]

"I’ve shared animator Nick Murray Willis’ videos before — he takes snippets of sound & dialogue from sports commentary & movies and creates context-shifted animations from them. For instance, in the two videos above with football (soccer) commentary, a commentator’s chant of “Messi, Messi, Messi” becomes a French street performer thanking the crowd (“merci, merci, merci”).

(Ok, I’ve caught myself attempting to explain humor, so I’m gonna wrap this up by urging you to watch the videos if you want.)"

[See also:

"Crazy Football Commentary, Animated! COMPILATION 3 (Parts 12-15)"
https://www.youtube.com/watch?v=00CrMvcVYVM

"Football Commentary, Animated! (Part 16)"
https://www.youtube.com/watch?v=Xj1tNP0kcZU

"Football Commentary, Animated! (Part 17)"
https://www.youtube.com/watch?v=EDwd_BtP8OQ

"Football Commentary, Animated! (Part 18)"
https://www.youtube.com/watch?v=iBqCmncqncM ]]]></description>
<dc:subject>animation sound nickmurraywillis soccet futbol football sports 2024 kottke jasonkottke 2018 humor soccer</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:ffc2aa247c29/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sound"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nickmurraywillis"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:soccet"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:futbol"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:football"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sports"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2024"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:kottke"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:jasonkottke"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2018"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:humor"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:soccer"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://aeon.co/videos/the-stream-of-consciousness-thoughts-and-memories-that-emerge-while-cooking-a-meal">
    <title>The stream-of-consciousness thoughts and memories that emerge while cooking a meal | Aeon Videos</title>
    <dc:date>2024-11-03T22:28:30+00:00</dc:date>
    <link>https://aeon.co/videos/the-stream-of-consciousness-thoughts-and-memories-that-emerge-while-cooking-a-meal</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The stream-of-consciousness thoughts and memories that emerge while cooking a meal

In her short film Now I’m in the Kitchen, the Chinese animator Yana Pan, who is now based in LA, offers viewers glimpses into her kitchen and mind as she depicts the stream-of-consciousness thoughts that emerge while cooking a meal. Summoning the sounds of chopping, the warmth and fog of smoke, and the taste, aroma and distinct sizzle of oil, Pan builds a rich sensory experience to illustrate how the process stirs up memories of her mother – some joyful, others fraught, and many still difficult to untangle. Both the minimalistic, textured animations and the story they tell are deceptively simple as, from just a few simple ingredients, Pan crafts an enchanting work on senses and memory, and mothers and daughters."]]></description>
<dc:subject>food cooking film animation yanapan allthesenses senses multisensory streamofconsciousness cookign howwethink sensory memory</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:d343b1ef5a15/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:food"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cooking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:film"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:yanapan"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:allthesenses"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:senses"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:multisensory"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:streamofconsciousness"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cookign"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:howwethink"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sensory"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:memory"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.youtube.com/watch?v=3zTK_jCp89M">
    <title>SELF-PORTRAIT AS A COFFEE POT | Official Trailer | Coming Soon - YouTube</title>
    <dc:date>2024-10-10T18:20:14+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=3zTK_jCp89M</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Laying bare the creative process, Self-Portrait As A Coffee- Pot is a dazzling, nine-episode film series by South African artist William Kentridge, renowned for his animated drawings for projection, as well as his sculpture, theatre and opera productions over the last forty years. https://mubi.com/en/us/films/self-portrait-as-a-coffee-pot

The nine-episode series, created and directed by William Kentridge, is executive produced by Rachel Chanoff and Noah Bashevkin of THE OFFICE PERFORMING ARTS + FILM, Joslyn Barnes of LOUVERTURE FILMS and the WILLIAM KENTRIDGE STUDIO, and edited by Walter Murch, Janus Fouché and Žana Marović."

[See also:
https://www.tiff.net/events/self-portrait-as-a-coffee-pot

"In three segments of a nine-part series, prolific South African artist and filmmaker William Kentridge chronicles how he creates intricate, wall-sized charcoal drawings of the vistas from his childhood in Johannesburg and life-sized paintings of himself — all while ruminating on the puzzle of self-knowledge."


https://www.hauserwirth.com/news/william-kentridge-self-portrait-as-a-coffee-pot-venice-arsenale-institute/

"An exhibition curated by Carolyn Christov-Bakargiev at Arsenale Institute for Politics of Representation, Venice on view from 17 April through 24 November 2024

For his new exhibition at Arsenale Institute for Politics of Representation in Venice, South African artist William Kentridge, renowned for his animated drawings for projection, as well as his sculpture, theater and opera productions over the last forty years, collaborates with curator Carolyn Christov-Bakargiev, friend and author of the foundational monograph on his work published in 1998, to premiere his intriguing new nine-episode video series, ‘Self-Portrait as a Coffee-Pot.’

This exhibition of thirty-minute episodes by Kentridge that were primarily created as a series for online viewing, is an experiment in embodiment and phenomenological experience in the digital age, and a reflection on what might happen in the brain and in the studio of an artist, today.

The nine-episode series was created and directed by William Kentridge, executive produced by Rachel Chanoff and Noah Bashevkin of The Office Performing Arts + Film, Joslyn Barnes of Louverture Films and the William Kentridge Studio. Walter Murch supervised the editing by South African digital artist Janus Fouché and Kentridge's regular collaborators Žana Marović and Joshua Trappler.

Shot in his Johannesburg studio during and in the aftermath of the 2020 – 2022 COVID-19 pandemic, and completed in 2023, these works will be viewed in a unique concentrated environment that partially recreates the studio where they were made. ‘Filming began in the first lockdown and the studio mimicked the closed spaces of COVID,’ states Kentridge, ‘but the studio is also an enlarged head, a chamber for thoughts and reflections where all the drawings, photos and detritus on the walls become these thoughts.’

As a physical exhibition space, the same size as his studio, this installation becomes a place between a private and a public space, the studio of a solitary artist deeply immersed in self-reflection and the joyous space of childhood play and of collaboration with others. These works, intended ultimately for online, mobile or television viewing, are a hymn to artistic freedom, ominously revealing the lack of freedom typical of our enclosed spaces in the digital era. They also foreground how the activity of mark-making with materials constructs the self in the process of making. Furthermore, the relationship between painting and musical scores, as well as between dance and drawing, become a form of mental gymnastics or yoga for the brain, exercises to expand and improve human intelligence in our era where the prosthetics of AI and the increasing use of social media ultimately and dangerously atrophy our cognitive and emotional abilities.

‘Kentridge’s art is rooted in South Africa, where he continues to live and create most of his work,’ says Christov-Bakargiev. ‘It stems from an attempt to address the nature of human emotions and memory, as well as the relationship between knowledge, desire, ethics, practice and responsibility. He investigates how our identities are shaped through our shifting ideas of history and place, looking at how we construct our histories as forms of collage and what we do with them, both singularly and collaboratively. His is an elegiac yet humorous art that explores the possibilities of poetry in contemporary society, even in the absence of utopian visions for the future, and provides an acerbic commentary on our society, while proposing a way of seeing life as a continuous process of change and uncertainty rather than as a controlled world of facts. In this new series, Kentridge’s alter egos and doppelgängers debate over a series of issues: how does memory work? What makes the self? Why does history always go wrong? One might interpret the works as a reversal of the obsessive narcissistic split personalities of our era of avatars on social media into forms of quiet psychoanalysis.’

Arsenale Institute for Politics of Representation in Venice, directed by philosopher Wolfgang Scheppe, is a space devoted to research and exhibitions that critique spectacle and investigate the politics of representation in the spirit of Situationism, of which Scheppe is an expert and the Institute the holder of one of the most comprehensive collections. Although interested in the trajectories of Situationism, Kentridge’s visual vocabulary, his costumes and designs, have often been inspired by an earlier period, in particular by Dada, Bauhaus and Constructivist precursors, including Oskar Schlemmer’s Ballet Triadique (1916 – 1922), and some of these costumes appear in Episode 8 of this series—Oh to Believe in Another World, which references the falling out of favor of utopian intellectuals generally through the story of Dmitri Shoshtakovic, and is also the title of a live orchestra performance and an installation by Kentridge of 2022 – 2023.

During the opening week of the Venice Biennale, from Monday 15 to Friday 19 April, Kentridge and Christov-Bakargiev will converse over a late-night whisky from 11 pm to 12 am, with special guests. This series of Midnight Whisky Talks presents improvisational philosophical dialogues that take place physically on the second floor of Arsenale Institute, in an environment reminiscent of a temporary domestic space adorned with Situationist documents and anti-art works from the 1950s and 60s, presumedly inhabited by an imaginary twentieth-century intellectual couple. Midnight Whisky Talks will take place daily, live streamed at 11 pm Central European Time (CET) on Instagram @williamkentridgestudio.

Additionally, Kentridge will speak at Università Ca’ Foscari Venezia on Friday 19 April from 11 am to 1 pm. The talk will take place in the historical Aula Magna Silvio Trentin at Palazzo Ca’ Dolfin, where a series of ten exceptional Tiepolo paintings (1726 – 1729) once hung, prior to their dismantling and sale in the late 1800s. The original paintings theatrically represent battles and scenes of expansion of the Roman Empire, including the Punic wars, and are located today in museums including the Metropolitan Museum of Art in New York and the Hermitage Museum in Saint Petersburg.  

– 

On view from 17 April – 24 November 2024, the exhibition curated by Carolyn Christov-Bakargiev is hosted at Arsenale Institute for the Politics of Representation. With thanks to Wolfgang Scheppe, founding director of Arsenale Institute, and Marie Letz, as well as to Chiara Spangaro, project manager. With Thanks to Anne McIlleron and Damon Garstang, WILLIAM KENTRIDGE STUDIO.

With thanks to Anne McIlleron and Damon Garstang of William Kentridge Studio, and to Sara Codutto.  

The exhibition is supported by Goodman Gallery, Galleria Lia Rumma and Hauser & Wirth."]]]></description>
<dc:subject>williamkentridge documentary series animation sculpture art theater opera covid-19 coronavirus pandemic films filmmaking southafrica digital video janusfouché žanamarović joshuatrappler memory personality situationist wolfgangscheppe</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:985adc11ab03/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:williamkentridge"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:documentary"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:series"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sculpture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:theater"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:opera"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:covid-19"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:coronavirus"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:pandemic"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:films"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:filmmaking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:southafrica"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:digital"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:video"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:janusfouché"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:žanamarović"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:joshuatrappler"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:memory"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:personality"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:situationist"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:wolfgangscheppe"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.youtube.com/watch?v=mX_Qe2HKuEA">
    <title>William Kentridge Interview on 'The Refusal of Time' - YouTube</title>
    <dc:date>2024-10-10T18:17:53+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=mX_Qe2HKuEA</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["How can we get a hold of time with our body and mind? This question is the crux of South African artist William Kentridge’s immersive installation ’The Refusal of Time.’ Join the artist for a detailed tour of his pulsing, breathtaking work.

‘The Refusal of Time,’ 2012, is an immersive installation and a meditation on time, space and the complex legacies of colonialism and industry. A multi layered work packed to the brim with references - to early cinematic history, and the science and philosophy of time and images - the work combines visually seductive imagery, sculptural objects, megaphones and sound. ”It’s not a scientific lesson in time,” explains the artist. “But it uses the metaphors scientists use when they’re doing their deepest thinking about time.” Therefore references to Einstein’s theory of relativity and figures like black holes - “a space in which everything disappears, a way of talking about death” - feature throughout the work.

Kentridge uses cinema as ”an artistic, mechanical and optical means of playing with time,” to show time materialized. Cinema can slow time down, replay it, hold it, run it backwards, and by employing these techniques of making time visible, the work shows time, and essentially the trudge of a human life, as “a series of predictable, unremarkable actions that continue until we are worn out.” But within that frame there are also refusals says Kentridge. “Those moments of coherence, of understanding and changing the world, which is the most we can hope for.”

Fragmented and futile in its story telling, ‘The Refusal of Time’ also references the painful histories of colonial wars and anti-colonial revolts in the context of time. In the colonial era the imposition of European time in the colonies was a means of control, Kentridge explains. “The resistance towards time became a metaphor for other kinds of resistance towards other forms of political control.” “In the end” – the artist says polemically – ”the project isn’t really about time. It’s much more about to what extent do we escape our fate? To what extent are we heading towards our fate whether we like it or not? Can we change the world on our way or is this all illusory?”

William Kentridge (b. 1955) is a South African filmmaker, draughtsman, and sculptor. He has produced both animation, set design and sculpture as directing operas at the Metropolitan Opera in New York, USA, and the Royal Opera House in London, UK. His work has been shown around the world, e.g. at dOKUMENTA 10, 11 and 13 Kassel, Germany, the 1999 Venice Biennial, Italy, the Metropolitan Museum and the Museum of Modern Art, New York, USA, the Louvre, Paris, France, and Louisiana Museum of Modern Art, Denmark. Kentridge’s work is held in numerous private collections worldwide and he is the recipient of many prestigious awards such as the 1999 Carnegie Medal, the 2010 Kyoto Prize and the 2013 Commandeur des Arts et des Lettres.

William Kentridge's installation 'The Refusal of Time' is a collaboration with composer Philip Miller, filmmaker Catherine Meyburgh & Peter Galison, professor of the history of science and of physics at Harvard University. The work is part of the exhibition ’Thick Time’, at the Louisiana Museum of Modern Art, 16 February – 18 June, 2017. William Kentridge’s installation is also part of the Louisiana Collection.

This video also features extracts from 'Making Time', 2011, a film about the making of 'The Refusal of Time', filmed and edited by Catherine Meyburgh.

William Kentridge was interviewed Christian Lund in the installation of ‘The Refusal of Time’, at the Louisiana Museum of Modern Art, in February 2017.

Camera: Jakob Solbakken
Edited by: Klaus Elmer
Produced by: Christian Lund
Copyright: Louisiana Channel, Louisiana Museum of Modern Art, 2017

Supported by Nordea-fonden"

[See also:
https://louisiana.dk/en/exhibition/kentridge-the-refusal-of-time/

https://www.kentridge.studio/william-kentridge-projects/the-refusal-of-time/

https://www.sfmoma.org/exhibition/william-kentridge-refusal-time/
https://www.sfmoma.org/theme/on-william-kentridges-the-refusal-of-time/
https://www.sfmoma.org/watch/william-kentridge-refusal-time/

https://www.metmuseum.org/art/online-features/metcollects/the-refusal-of-time

https://www.youtube.com/watch?v=izc7yqJDlB4

https://www.theguardian.com/culture/australia-culture-blog/2014/feb/21/william-kentridge-the-refusal-of-time-interview ]]]></description>
<dc:subject>williamkentridge time clocks art installation 2017 1905 bodies pulse resistance 2012 colonialism industry death metronomes photography film zoetropes fragmentation movement history relativity alberteinstein 2016 2013 science metaphor metaphors space cosmos agency universe howwethink thinking existence platoscave allegory processions revolt colonization control politics dying animation longing entropy anti-entropy fragments artmaking coherence understanding sensemaking fate change changemaking technology making canon emergence makingsense</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:f3c3067fb997/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:williamkentridge"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:time"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:clocks"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:installation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2017"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:1905"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:bodies"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:pulse"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:resistance"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2012"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:colonialism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:industry"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:death"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:metronomes"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:photography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:film"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:zoetropes"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:fragmentation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:movement"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:relativity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:alberteinstein"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2016"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2013"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:science"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:metaphor"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:metaphors"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:space"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cosmos"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:agency"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:universe"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:howwethink"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:thinking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:existence"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:platoscave"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:allegory"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:processions"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:revolt"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:colonization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:control"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:politics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dying"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:longing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:entropy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:anti-entropy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:fragments"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:artmaking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:coherence"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:understanding"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sensemaking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:fate"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:change"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:changemaking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:technology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:making"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:canon"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:emergence"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:makingsense"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.youtube.com/watch?v=IgV8wMnCkeQ">
    <title>FAITH IN ARTS: A Conversation with Olivia Peace - YouTube</title>
    <dc:date>2024-08-28T18:56:26+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=IgV8wMnCkeQ</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Faith In Arts: A Conversation with Olivia Peace
Wednesday, August 28, 2024
Presented as part of Faith in Arts

These conversations and interviews with a diverse group of artists, curators, faith leaders, and scholars explore the role of arts in spiritual practice and religious life in the arts.

Olivia Peace is a nationally recognized director and visual artist from Detroit, Michigan. Their work is heavily informed by artistic experimentation, dreamspaces, and a deep reverence for the ecosystems that made them. Peace attended film school at Northwestern University where they studied animation and interactive art. They also hold a master’s degree in Interactive Media and Games from The University of Southern California where they specialized in Worldbuilding. Their most recent film “Against Reality,” which premiered at the Toronto International Film Festival, was a winner of the 49th Student Academy Awards competition. Their coming-of-age film "Tahara" was named a New York Times critic's pick. Their projects have screened at festivals and venues including the Lincoln Center, Outfest Film Festival, Frameline Film Festival, Slamdance, and more. In 2017 Peace was a Sundance Ignite Fellow after receiving the Sundance / Adobe Project 1324's "What's Next" Challenge for their film "Pangaea."

In this conversation, Peace discusses their exploration of lucid dreaming in the films "Lucid" and "Against Reality," as well as their engagement with spirituality and futuristic, utopian aesthetics like Solarpunk across various projects."

[See also:
https://www.olivia-peace.com/ ]]]></description>
<dc:subject>oliviapeace faith art arts spirituality religion dreams luciddreaming film filmmaking childhood bmcm+ac michigan dearborn animation reality consciousness dreaming socialupheaval dreamlabs covid-19 coronavirus pandemic ai artificialintelligence programming coding howwewrite videogames gaming games algorithms manifestos race racism form worldbuilding interactive comingofage bildungsroman solarpunk future utopia apocalypse detroit faithinarts</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:ed368ac42108/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:oliviapeace"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:faith"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:arts"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:spirituality"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:religion"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dreams"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:luciddreaming"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:film"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:filmmaking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:childhood"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:bmcm+ac"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:michigan"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dearborn"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:reality"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:consciousness"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dreaming"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:socialupheaval"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dreamlabs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:covid-19"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:coronavirus"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:pandemic"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ai"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:artificialintelligence"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:programming"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:coding"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:howwewrite"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:videogames"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:gaming"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:games"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:algorithms"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:manifestos"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:race"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:racism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:form"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:worldbuilding"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:interactive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:comingofage"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:bildungsroman"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:solarpunk"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:future"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:utopia"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:apocalypse"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:detroit"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:faithinarts"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.thelineanimation.com/work/chobani">
    <title>Chobani Dear Alice 2D animation commercial | Chobani | The Line Animation</title>
    <dc:date>2024-06-01T17:21:11+00:00</dc:date>
    <link>https://www.thelineanimation.com/work/chobani</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[""DEAR ALICE"
What if we created a future for ourselves that was full of optimism and positivity? This was the starting point for our new 2D animated commercial piece for Chobani. “Dear Alice” is a love letter from a grandmother to a granddaughter and an optimistic vision of the future of farming. It’s a nostalgic look towards a new era of agriculture, with beautifully crafted backgrounds, delicate animation and a completely unique score by long-time Ghibli composer (and absolute legend) Joe Hisaishi. (Yeah, we can’t believe this happened either).

We worked closely with Chobani to realise their vision of a world worth fighting for. It’s not a perfect utopia, but a version of a future we can all reach if we just decide to put in the work.

We love the aspiration in Chobani’s vision of the future and hope it will sow the seeds of optimism and feed our imagination for what the future could be. It’s a vision we can totally get behind. We couldn’t be more happy to be part of this campaign."

[Vimeo:
https://vimeo.com/571724525

Youtube:
https://www.youtube.com/watch?v=z-Ng5ZvrDm4

See also:

"Solarpunk Part 1 — More Than Just a Yogurt Commercial?" (Leonardo Marchetti)
https://medium.com/climate-insight/solarpunk-part-1-more-than-just-a-yogurt-commercial-871e0786ab74

"Chobani Yogurt Goes Solarpunk
It may be a yogurt ad, but it’s still a future I wouldn’t mind living in."
https://opus.ing/posts/chobani-yogurt-goes-solarpunk

"I want to live in a yogurt commercial"
https://www.reddit.com/r/solarpunk/comments/11vocty/i_want_to_live_in_a_yogurt_commercial/

"'Dear Alice' Decommodified Edition | Solarpunk anime ambience with no ads"
https://www.youtube.com/watch?v=UqJJktxCY9U

"The solarpunk-inspired 'Dear Alice' commercial produced by the animation company The Line for Chobani is one of the most beautiful depictions of an ecological future I had seen, except for one glaring thing: it was an advertisement for a dairy company, and my solarpunk vision doesn't have either of those things. Neither is compatible with the 'degrowth' economic model outlined by people like Jason Hickel, not with the ethic of an ecological society described by social ecologists like Murray Bookchin.

In light of that fatal flaw I decided to paint out all of the branding and recreated the sound design so that solarpunks like myself can enjoy this beautiful world without having to invite the ugliness of capitalism into it. Enjoy!"]]]></description>
<dc:subject>solarpunk animation ads advertising chobani yogurt leonardomarchetti 2024 2023 theline futurism environment ecosystems neom</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:9a7c55d9bd7d/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:solarpunk"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ads"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:advertising"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:chobani"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:yogurt"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:leonardomarchetti"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2024"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2023"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:theline"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:futurism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:environment"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ecosystems"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:neom"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://cabel.com/2024/02/13/firehouse-five-and-the-cinderella-surprise/">
    <title>Firehouse Five and the Cinderella Surprise – cabel.com</title>
    <dc:date>2024-02-15T17:34:35+00:00</dc:date>
    <link>https://cabel.com/2024/02/13/firehouse-five-and-the-cinderella-surprise/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["My goal was to preserve some never-before-heard recordings of an incredible Dixieland jazz band made up of mostly Disney employees, the Firehouse Five Plus Two.

But along the way, I accidentally discovered an incredible lost song that was cut from Walt Disney’s Cinderella.

And you’re about to hear it too. Let’s go."]]></description>
<dc:subject>music disney history animation film filmmaking 2024 cabelsasser firehousefive firehousefiveplustwo</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:9d19edaec3e4/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:disney"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:film"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:filmmaking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2024"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cabelsasser"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:firehousefive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:firehousefiveplustwo"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.filmsforaction.org/watch/this-land-is-mine/">
    <title>I've Never Seen the Israel / Palestine Conflict Illustrated More Uniquely Than This</title>
    <dc:date>2023-10-11T02:55:12+00:00</dc:date>
    <link>https://www.filmsforaction.org/watch/this-land-is-mine/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The story shared by Israel and Palestine has been told in several stunning films, but I don't think I've ever seen it told like this.

Nina Paley created this (extremely brief) animated history of the land that was at one time called Israel, Palestine, Canaan and the Levant. She even created this viewer's guide to make sense of what's happening."]]></description>
<dc:subject>israel palestine history animation ninapaley caananites assyrians egypt ancientegypt babylonia assyria macedonians greeks ancientgreece greece romans ancientrome byzantines crusades religion christianity ottomans ottmanempire zionism plo hamas hezbollah hizbullah</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:2e659de61d36/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:israel"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:palestine"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ninapaley"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:caananites"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:assyrians"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:egypt"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ancientegypt"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:babylonia"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:assyria"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:macedonians"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:greeks"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ancientgreece"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:greece"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:romans"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ancientrome"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:byzantines"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:crusades"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:religion"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:christianity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ottomans"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ottmanempire"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:zionism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:plo"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:hamas"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:hezbollah"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:hizbullah"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.theverge.com/2023/9/8/23864374/procreate-dreams-animation-app-ipad-release-date-announcement-price">
    <title>Procreate’s new iPad app aims to revolutionize animation - The Verge</title>
    <dc:date>2023-09-08T18:42:24+00:00</dc:date>
    <link>https://www.theverge.com/2023/9/8/23864374/procreate-dreams-animation-app-ipad-release-date-announcement-price</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>animation applications ipad ipados 2023 procreate</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:1198bc0805ec/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:applications"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ipad"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ipados"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2023"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:procreate"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.theverge.com/23797349/how-do-you-live-review-studio-ghibli-hayao-miyazaki">
    <title>How Do You Live review: a beautiful relic and the end of an era - The Verge</title>
    <dc:date>2023-07-18T08:24:53+00:00</dc:date>
    <link>https://www.theverge.com/23797349/how-do-you-live-review-studio-ghibli-hayao-miyazaki</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The question the film’s Japanese title poses lingers throughout the experience. How do you live? On the shoulders of those who came before you. After decades of defining the animation industry in Japan, Miyazaki has accepted his fate. This is ultimately a story about the hows and whys that define our memory, a recognition that no existence can live without building upon the inventions, experiences, and memories of those who came before us. A recognition that to move forward means to move on and let go of the past while keeping their memories and lessons close for the next person to carry that torch.

The Boy and the Heron feels like a recognition by Miyazaki of his place as a relic in a modern animation industry that’s moved on without him. Studio Ghibli has firmly embedded itself within animation history and particularly Japanese culture, where movies like My Neighbor Totoro and Kiki’s Delivery Service feel like rights of passage for Japanese children even before we discuss the park or museum or the copious merchandising. People who don’t watch anime or look down on animation as some childish toy likely still know and love at least one Ghibli film. Totoro was a character in Toy Story 3!

Yet it’s also been 10 years since Miyazaki released his last film and nine years since Ghibli’s final feature, When Marnie Was There. For all the media at one point seemed determined to anoint the so-called “next Miyazaki,” only the spiritual successor made up of former veterans of Ghibli, Studio Ponoc, ever attempted to directly emulate the distinct visual and narrative playbook of the famed studio. Mary and the Witch’s Flower released to moderate success in 2017, but notably, the first trailer for the studio’s new project The Imaginary premiered before this screening with a visual and thematic approach that serves as a distinct departure.

The anime landscape today is defined by a different director: Makoto Shinkai. Films like Five Centimeters Per Second, Your Name, and Suzume, with their intense post-processing over highly realistic environments telling stories about love and distance through the imagery of fantasy and science fiction, are nonetheless impressive but are very distinct from the works of Ghibli in their own, more modern style. In recent years, with the success of Shinkai’s works, the comparisons have stopped. You can’t be the next Miyazaki when you’ve already eclipsed the man you’re being compared to.

When it’s not Shinkai or one of his many imitators, recognizable franchises reign stronger than ever. Anime has always relied on adaptations of other mediums, but the shift from historically lower gross for such films as mere fan service to the blockbusters of today showcases a stark difference. Last year, One Piece Film RED grossed almost 20 billion yen in Japan, making it one of the top 10 highest-grossing films of all time and placing it above Howl’s Moving Castle and all but two of Miyazaki’s works. The First Slam Dunk has similarly been breaking records and topped the box office for eight consecutive weeks upon release. And let’s not forget the monster 2020 success of Demon Slayer: Mugen Train, whose 40 billion yen domestic gross demolished Spirited Away’s record of the highest-grossing film of all time in Japan.



The point is, we don’t see films like this being made anymore, for better and for worse. There’s no glee or joy in discussing Miyazaki’s fading stardom. Indeed, with The Boy and the Heron, Miyazaki has produced one of his best films to date, a mature metafictional tale in a friendlier facade about memory and moving on from the past while carrying their precious experiences on their shoulders.

Yet the industry has moved on. This film feels thematically and visually like a lost piece of mid-2000s Ghibli media resurfaced from a vault and thrown onto cinema screens. No less impressive, but a piece of the past carried on the shoulders of those who built it, tossed into the world more to remember what we lost than to build upon what we have today. You could argue there’s irony in making a film about letting go and moving forward when a director can’t follow through with his desire to walk away, but maybe that’s why this movie had to be made.

Honestly, so moved and impressed I was by this movie, I’d love for him to betray its message and come back, just one more time. The creative well underneath Miyazaki remains full, and I’m sure he could create another 10 films and still have new ideas to explore. We’ve barely scratched the surface of his bottomless talent.

In the movie’s first act, Mahito finds an old copy of How Do You Live?, the children’s book that inspired the film’s Japanese title. The title page is signed by his mother with a message of how much he’s grown. He breaks down in tears. The adventure which follows proves that she was right, and the book stays with him throughout, another memory passed down for him to bear.

Just as Mahito needs to accept the loss of his mother, leaving that cinema on Friday morning felt like closing the book on an era of animation history we’ll never get back. The items passed on to Mahito by the characters in this fantasy world are ways to remember his adventure and reconnection to his mother, just as we can always rewatch these films. And remember we must, as it’s only by passing these memories down that they can live on long after the people behind them are gone.

Miyazaki has accepted his time has come and gone, and this is his plea to be remembered by the next generation. With this understanding, everything from the film’s complex yet thematically resonant story to particularly its non-existent promotional campaign made sense. Releasing a film without a single trailer, screenshot, or even synopsis feels like career suicide, a sure chance a film will fail. It’s a strategy that could only succeed at the hands of a studio and director who earned respect like these two. In turn, this campaign is a final plea from Miyazaki to the public who admire him and his work.

Memories only outlive us by sharing them with others, ensuring they won’t be forgotten with our passing. Similarly, if we want this era of animation to be remembered for generations to come, the onus is on us as an audience to champion its voice and share it with others. Ghibli and Miyazaki already have their place in history. If The Boy and the Heron is to join it, we have to want to pass it on, hold it close, and carry it with us.

And, after all that, move forward."]]></description>
<dc:subject>hayaomiyazaki film legacy 2023 animation life living theboyandtheheron princessmononoke spiritedaway thewindrises memory beagoodancestor aliciahaddick japan anime makotoshinkai studioghibli ancestors descendants</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:74ea66d291e1/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:hayaomiyazaki"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:film"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:legacy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2023"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:life"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:living"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:theboyandtheheron"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:princessmononoke"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:spiritedaway"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:thewindrises"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:memory"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:beagoodancestor"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:aliciahaddick"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:japan"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:anime"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:makotoshinkai"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:studioghibli"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ancestors"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:descendants"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.youtube.com/watch?v=WRr5uRmkNaQ">
    <title>when the animators are given half the time and money that disney gets - YouTube</title>
    <dc:date>2023-05-17T03:24:35+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=WRr5uRmkNaQ</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Disney feature animation ruled the 90s with hit movie after hit movie. But there was one animated film to come out of a different studio that has stood the test of time as well as any to come before it: The Iron Giant, directed by Brad Bird. The Iron Giant was one of the most precious films to me as a kid. And if you haven't seen it, I'm very proud to get to share it with you today."]]></description>
<dc:subject>bradbird animation film 2023 dannyboyd cinemastix theirongiant</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:08b6ab79d068/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:bradbird"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:film"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2023"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dannyboyd"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cinemastix"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:theirongiant"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://vimeo.com/772225816">
    <title>Eyeo 2022 - Jen Lowe &amp; Patricio Gonzalez on Vimeo</title>
    <dc:date>2023-01-02T07:59:41+00:00</dc:date>
    <link>https://vimeo.com/772225816</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["THE STARS ARE FREE: TIME PORTALS AND HOLISTIC TECHNOLOGY
| Jen Lowe and Patricio Gonzalez at Eyeo 2022 |

A talk about ancient and traditional practices of time and divination, and imagine a possible future that requires a return to holistic technologies, and globally connected local communities. We’ll show projects of folks who are preparing for that possible future by building atomic modular technology and practicing reuse technology as emerging technology. We’ll cover some lessons learned making our own atomic modular tools, like glsl viewer, and the alchemy of making our own digital art with recycled e-waste. Our inspirations include: birds, clouds, Octavia Butler, Rasheedah Philllips and Black Quantum Futurism, Ursula Franklin, Hundred Rabbits artist collective, the Solar Protocol project, and Precious Plastic’s localized global recycling network."]]></description>
<dc:subject>jenlowe patriciogonzález 2022 time art technology clocks clockmaking octaviabutler rasheedahphillips ursulafranklin hundredrabbits software hardware preciousplastic recycling slow small reuse divination holistic patriciogonzalez patriciogonzalezvivo patriciogonzálezvivo emergent emergingtechnology practice ewaste materials plastic plastics repurposing compassion nature electronics eyeo digital allthesenses senses multisensory collaboration sfpc schoolforpoeticcomputation augury channeling birds birdsong noticing precarity astronomy stars geomancy astrology symbols solarprotocol quantumtime nonlinear blackquantumfuturism alinear linearity clocktime compliance resistance conformity control ritual care caretaking grief rest zoominginandout community cycles environment local looom animation computing movement perception clouds sky nightsky moon bodies waste tools toolmaking calendars timeautonomy geologictime hibernation past present future synchronicity pastlives freedom liberation neurodiversity eyeo2022</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:ca32479f34c1/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:jenlowe"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:patriciogonzález"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2022"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:time"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:technology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:clocks"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:clockmaking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:octaviabutler"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:rasheedahphillips"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ursulafranklin"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:hundredrabbits"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:software"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:hardware"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:preciousplastic"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:recycling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:slow"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:small"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:reuse"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:divination"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:holistic"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:patriciogonzalez"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:patriciogonzalezvivo"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:patriciogonzálezvivo"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:emergent"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:emergingtechnology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:practice"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ewaste"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:materials"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:plastic"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:plastics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:repurposing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:compassion"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nature"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:electronics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:eyeo"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:digital"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:allthesenses"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:senses"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:multisensory"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:collaboration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sfpc"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:schoolforpoeticcomputation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:augury"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:channeling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:birds"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:birdsong"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:noticing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:precarity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:astronomy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:stars"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:geomancy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:astrology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:symbols"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:solarprotocol"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:quantumtime"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nonlinear"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:blackquantumfuturism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:alinear"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:linearity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:clocktime"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:compliance"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:resistance"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:conformity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:control"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ritual"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:care"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:caretaking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:grief"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:rest"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:zoominginandout"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:community"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cycles"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:environment"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:local"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:looom"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:computing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:movement"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:perception"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:clouds"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sky"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nightsky"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:moon"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:bodies"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:waste"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tools"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:toolmaking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:calendars"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:timeautonomy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:geologictime"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:hibernation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:past"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:present"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:future"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:synchronicity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:pastlives"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:freedom"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:liberation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:neurodiversity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:eyeo2022"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.accutronwatch.com/blogs/podcast/the-storytelling-power-of-virtual-reality-with-shari-frilot">
    <title>The storytelling power of virtual reality with Shari Frilot – accutron</title>
    <dc:date>2022-06-08T21:52:48+00:00</dc:date>
    <link>https://www.accutronwatch.com/blogs/podcast/the-storytelling-power-of-virtual-reality-with-shari-frilot</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[on YouTube:
https://www.youtube.com/watch?v=CXv51mqs9fU ]

"[25:03] What gets us into trouble is not technology, what gets us into trouble are our values, what we feel is important to do with our lives. To acquire things, to buy things, to extract, to go into competition, you know those sets of values. Versus to work together, to create, to magnify beauty, that's another set of values. Those two sets of values and the same technology can get two different results, two different worlds, two different internets."

...

"Episode Summary

Technology advancement can often make our life better, but what role does it play in art and film? In this episode of The Accutron Show, our hosts talk to Shari Frilot, artist, filmmaker, and chief curator of the New Frontier program at the Sundance Film Festival. Shari plays a key role in discovering new art forms that use technology as a tool to tell stories. Together they discuss the importance of values in a time where everything is controlled by technology, the meaning of the word "bio-digital" and much more.

Episode Notes

Technology advancement can often make our life better, but what role does it play in art and film? In this episode of The Accutron Show, our hosts talk to Shari Frilot, artist, filmmaker, and chief curator of the New Frontier program at the Sundance Film Festival. Shari plays a key role in discovering new art forms that use technology as a tool to tell stories. Together they discuss the importance of values in a time where everything is controlled by technology, the meaning of the word "bio-digital" and much more. They also talk about the "spaceship" at Sundace, the physical and virtual space where everyone can hang out, socialize and experience art. Tune in and project yourself into cyber space.

Episode Highlights

25:03 What gets us into trouble is not technology, what gets us into trouble are our values, what we feel is important to do with our lives. 

36:04 What artists are doing with these technologies is really incredible. What may be a prototype today, may well become a whole industry a year later. And we have seen this happen already. 

39:37 This technology is powerful and very compelling. It makes you feel, it's revelatory, it's connected to a very powerful, very lucrative network technology called, cell phone. So it's very compelling to put money into this. It's healthy to see this enthusiasm and investment, we just have to be very careful of where our values go, so that this technology is working for humanity and not against it."]]></description>
<dc:subject>sharifrilot film virtualreality dance theater creativity 2022 interviews vr technology art values filmmaking sundance facebook metaverse markzuckerberg billmccuddy davidgraver documentary animation newfrontier empathy immersive curation media newmedia storytelling bodies</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:3dfe531ac062/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sharifrilot"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:film"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:virtualreality"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dance"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:theater"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:creativity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2022"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:interviews"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:vr"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:technology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:values"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:filmmaking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sundance"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:facebook"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:metaverse"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:markzuckerberg"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:billmccuddy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:davidgraver"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:documentary"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:newfrontier"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:empathy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:immersive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:curation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:media"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:newmedia"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:storytelling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:bodies"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.youtube.com/watch?v=oSCj8H4TGTo">
    <title>How Did Anime Become So Popular In the USA? | Subcultured - YouTube</title>
    <dc:date>2022-03-24T17:45:30+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=oSCj8H4TGTo</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Anime has exploded in popularity over the last decade, going from geek to cool.

Audio description is available for this video. Go to Settings - Audio Track - English Descriptive.

In this episode, join Josef as they visit AnimeNYC, an anime convention in New York City, to learn about the anime fandom, cosplay, and how the genre suddenly became so cool. We're also joined by the team behind  @Beyond The Bot , a group of friends that love anime and make videos about it on their own YouTube channel. How did anime become so popular? Let us know what you think of anime in the comments!"]]></description>
<dc:subject>joseflorenzo anime subcultured japan otaku culture subcultures 2022 1988 history fansubbing us translation subtitles import community distribution 1980s 1990s pokemon dragonballz sailormoon yu-gi-oh 1993 hayaomiyazaki studioghibli spiritedaway nerds akira defiance resistance kanyewest mainstream popularity generations 2000s media television tv film manga animation friendship chosenfamilies inclusivity inclusive gundam macross kumikosaito tsutomumiyazaki pokémon</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:351415d413b9/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:joseflorenzo"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:anime"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:subcultured"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:japan"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:otaku"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:culture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:subcultures"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2022"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:1988"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:fansubbing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:us"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:translation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:subtitles"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:import"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:community"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:distribution"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:1980s"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:1990s"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:pokemon"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dragonballz"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sailormoon"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:yu-gi-oh"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:1993"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:hayaomiyazaki"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:studioghibli"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:spiritedaway"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nerds"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:akira"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:defiance"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:resistance"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:kanyewest"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mainstream"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:popularity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:generations"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2000s"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:media"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:television"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tv"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:film"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:manga"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:friendship"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:chosenfamilies"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:inclusivity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:inclusive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:gundam"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:macross"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:kumikosaito"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tsutomumiyazaki"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:pokémon"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://two.compost.digital/clock-basket-no-1/">
    <title>COMPOST Issue 02: Clock Basket No. 1 by Benny Lichtner</title>
    <dc:date>2021-09-23T22:37:11+00:00</dc:date>
    <link>https://two.compost.digital/clock-basket-no-1/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>bennylichtner 2021 graphicdesign animation interactivefiction interactive if clocks times bantime michaelsumner storytelling circadianrhythms nature clockaganda social humor</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:f391f843b068/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:bennylichtner"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2021"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:graphicdesign"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:interactivefiction"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:interactive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:if"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:clocks"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:times"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:bantime"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:michaelsumner"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:storytelling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:circadianrhythms"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nature"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:clockaganda"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:social"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:humor"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://tinytools.directory/">
    <title>Open source, experimental, and tiny tools roundup</title>
    <dc:date>2021-04-15T01:26:15+00:00</dc:date>
    <link>https://tinytools.directory/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This is a list of small, free, or experimental tools that might be useful in building your game / website / interactive project. Although I’ve included ‘standards’, this list has a focus on artful tools and toys that are as fun to use as they are functional.

The goal of this list is to enable making entirely outside of closed production ecosystems or walled software gardens."]]></description>
<dc:subject>onlinetoolkit toolkits software webdev opensource tools mac osx macos windows linux ios android iphone html css code coding programming ai machinelearning games if interactivefiction interactive animation video sound effects artificialintelligence</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:f359f114c7da/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:onlinetoolkit"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:toolkits"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:software"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:webdev"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:opensource"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tools"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mac"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:osx"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:macos"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:windows"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:linux"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ios"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:android"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:iphone"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:html"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:css"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:code"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:coding"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:programming"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ai"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:machinelearning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:games"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:if"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:interactivefiction"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:interactive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:video"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sound"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:effects"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:artificialintelligence"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://orionmagazine.org/article/the-worlds-of-hayao-miyazaki/">
    <title>Orion Magazine | The Ecological Imagination of Hayao Miyazaki</title>
    <dc:date>2021-03-29T20:21:08+00:00</dc:date>
    <link>https://orionmagazine.org/article/the-worlds-of-hayao-miyazaki/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“A Retrospective on Four Fantastical Worlds”

I

The Word for Forest is Silence
もののけ姫 | Princess Mononoke”

II

A Tree and Troll to Watch Over Me
となりのトトロ | My Neighbor Totoro”

III

Carrying on Through a Wayward World
千と千尋の神隠し | Spirited Away”

IV

Reading the Wind, Mending the Earth
風の谷のナウシカ | Nausicaa of the Valley of the Wind”]]></description>
<dc:subject>issacyuen hayaomiyazaki film animation morethanhuman multispecies 1997 princessmononoke forests animism japan animals plants nature myneighbortotoro totoro 1988 childhood spiritedaway 2001 spirits nausicaaofthevalleyofthewind nausicaa environment ecology 1984 human-animalrelations human-animalrelationships studioghinli 2021 time memory trees silence landscape agriculture children multimedia sound narrative narration storytelling earth care coexistence audio</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:d57d5d265b59/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:issacyuen"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:hayaomiyazaki"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:film"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:morethanhuman"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:multispecies"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:1997"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:princessmononoke"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:forests"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:japan"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animals"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:plants"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nature"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:myneighbortotoro"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:totoro"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:1988"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:childhood"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:spiritedaway"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2001"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:spirits"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nausicaaofthevalleyofthewind"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nausicaa"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:environment"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ecology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:1984"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:human-animalrelations"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:human-animalrelationships"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:studioghinli"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2021"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:time"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:memory"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:trees"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:silence"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:landscape"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:agriculture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:children"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:multimedia"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sound"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:narrative"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:narration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:storytelling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:earth"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:care"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:coexistence"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:audio"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.youtube.com/watch?v=idT98H8TK-U">
    <title>Welcome To My Life | Cartoon Network Studios Shorts - YouTube</title>
    <dc:date>2021-03-20T01:59:01+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=idT98H8TK-U</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Watch this exclusive short about a day in the life of Douglas aka T-Kash,  a monster trying to fit in at his high school."]]></description>
<dc:subject>elizabethito 2017 animation monsters schools schooling tolerance</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:f8b1711d5f9b/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:elizabethito"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2017"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:monsters"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:schools"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:schooling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tolerance"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://elizabethito.com/">
    <title>KIKUTOWNE / ELIZABETH ITO</title>
    <dc:date>2021-03-19T09:38:17+00:00</dc:date>
    <link>https://elizabethito.com/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>animation illustration elizabethito</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:576f625f4f9d/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:illustration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:elizabethito"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.youtube.com/watch?v=3erffO75QCs">
    <title>Typographics 2020: Exploring type and culture by … misusing technology with Kelli Anderson - YouTube</title>
    <dc:date>2021-01-27T23:38:33+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=3erffO75QCs</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This talk took place on July 24, 2020 as part of Typographics Conference. The livestreaming, recording and archiving of the event is made possible with the generous support of Google Fonts. 

During the pandemic, I’ve been busy recreating digital/technological processes with what has been on-hand: craft materials. I’m exploring how MetaFont reconceptualized the question of ‘what is a letter?’ in an animated paper pop-up. I’m working on an interactive modular typography device using a cardboard volvelle as “interface.” With colored gels, I’m demonstrating how Germany’s development of FE-Schrift for license plates sought to thwart human falsification—while communicating directly to the vision of OCR software. Additionally, I’ve made dozens of “risographed animations” to dramatize the minute morphological differences of letterforms in an impossibly noisey, shakey, and uncontrollable medium.

Understanding black-box digital processes by hand is undoubtedly absurd, but it also reacquaints us with the unique, embodied (and magical) way that humans process the world. With this work, I hope to provide an oblique lens to behold what we’ve created with our technology, so that we may engage more deeply with its philosophical implications and possibilities.

Kelli Anderson is a designer and paper engineer who pushes the materials of graphic design to their interactive extreme. Operating in the space between conceptual art, graphic design, and tech, her books have featured a working paper planetarium, a pop-up pinhole camera, and a paper record player. Whenever she can, she uses humble materials to showcase the surprising complexity and magic of the tangible, lo-fi world.

She is best known for her design, animation, and illustration work for NPR, The New Yorker, Wired, MoMA, the Exploratorium, and the New York Times, as well as her redesign of NYC brands such as Russ & Daughters and Momofuku. Her two experimental and interactive pop-up books: This Book is a Camera, which transforms into a pinhole camera, and This Book is a Planetarium, which houses a tiny planetarium and other contraptions, have been called “A marvel of paper engineering and imagination”— NY Times. Some of her other projects include Tinybop’s award-winning Human Body app and a counterfeited “utopian” newspaper distributed with The Yes Men. She teaches at the School for Poetic Computation and the New School in NYC and spends her free time making typography-based risograph animations at The Arm."]]></description>
<dc:subject>kellianderson 2020 graphicdesign senses allthesense risograph pop-upbooks interactive multisensory texture visual type typography fonts letterforms print tools technology howwework physical variabletype sliders animation paper folding origami miuraori miura miurafold classideas tactile digital typographics graphics art arts design 3d light projection optics photo-lettering letterformarchive riso miura-ori</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:468412f4f7da/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:kellianderson"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2020"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:graphicdesign"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:senses"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:allthesense"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:risograph"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:pop-upbooks"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:interactive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:multisensory"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:texture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:visual"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:type"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:typography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:fonts"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:letterforms"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:print"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tools"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:technology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:howwework"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:physical"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:variabletype"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sliders"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:paper"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:folding"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:origami"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:miuraori"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:miura"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:miurafold"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:classideas"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tactile"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:digital"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:typographics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:graphics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:arts"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:3d"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:light"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:projection"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:optics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:photo-lettering"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:letterformarchive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:riso"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:miura-ori"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.youtube.com/watch?v=I85zkLP7kls">
    <title>Rick And Morty &quot;School is not a good place for Smart people.&quot; - YouTube</title>
    <dc:date>2020-09-19T23:03:33+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=I85zkLP7kls</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>rickandmorth school schooliness unschooling deschooling humor cartoons animation education learning howwelearn schools</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:316913c5f00c/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:rickandmorth"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:school"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:schooliness"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:unschooling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:deschooling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:humor"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cartoons"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:education"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:learning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:howwelearn"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:schools"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://watch.supernova.video/supernova-2020-official-program-previews/videos/hypnotic-devices-program-preview">
    <title>Hypnotic Devices Program Preview - Supernova Previews</title>
    <dc:date>2020-09-16T04:39:23+00:00</dc:date>
    <link>https://watch.supernova.video/supernova-2020-official-program-previews/videos/hypnotic-devices-program-preview</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“Full program will launch September 15th on supernova.video

Absurd, Abstract, Profound - Over the past hundred years, animation has grown from early technical experiments to mainstream entertainment and back to experimental forms, based on technological advancements. Though video games are younger, by comparison, their growth and evolution mirror this same arc of development. This program brings together a selection of 21st-century games, exploring the intersection between games and experimental animation. With easy access to powerful game-building software, an endless library of online tutorials, and the ubiquity of powerful computing devices, video games are no longer the domain of a select few. With time and patience, anyone can create a game. As the access to games and game-design tools increases, the opportunity for experimentation and expression has given rise to new hybrid experiences, pushing the boundaries between what are traditionally known as video games or animation. The question is no longer, “can I make a game,” but “what else can I do with these tools?””

[See also: https://watch.supernova.video/hypnotic-devices

David O'Reilly and "Everything" (2017)
https://watch.supernova.video/hypnotic-devices/videos/everything
https://www.davidoreilly.com/
https://www.davidoreilly.com/everything/

Studio Oleomingus and "Under a Porcelain Sun" (2018) (and others)
https://watch.supernova.video/hypnotic-devices/videos/under-a-porcelain-sun
https://oleomingus.com/
https://store.steampowered.com/app/532230/Under_a_Porcelain_Sun/
https://studio-oleomingus.itch.io/the-indifferent-wonder-of-an-edible-place
https://studio-oleomingus.itch.io/in-the-pause-between-the-ringing

Tale of Tales and "The Endless Forest" (2006)
https://watch.supernova.video/hypnotic-devices/videos/endless-forest
http://tale-of-tales.com/
http://tale-of-tales.com/TheEndlessForest/index.html

Queen Bee Games and "Spinch" (2020)
https://watch.supernova.video/hypnotic-devices/videos/spinch-gameplay-video
https://www.queenbeegames.com/
https://www.spinchthegame.com/

Studio Zevere and "She Dreams Elsewhere" (2020)
https://watch.supernova.video/hypnotic-devices/videos/she-dreams-elsewhere
https://www.studiozevere.com/

TJ Hughes and "Nour" (2018)
https://watch.supernova.video/hypnotic-devices/videos/nour
https://terrifyingjellyfish.com/tagged/art
https://store.steampowered.com/app/1141050/Nour_Play_with_Your_Food/

Bearwarp and "Bluster Blunder" (2019)
https://watch.supernova.video/hypnotic-devices/videos/bluster-blunder
https://bearwarp.com/

Adam Robinson Yu (Adam Gryu) and "A Short Hike" (2019)
https://watch.supernova.video/hypnotic-devices/videos/a-short-hike
https://adamgryu.com/
https://ashorthike.com/

Lucas Pope and "Papers, Please" (2013)
https://watch.supernova.video/hypnotic-devices/videos/papers-please
https://dukope.com/
https://papersplea.se/

Paloma Dawkins and "Museum of Symmetry" (2018)
https://watch.supernova.video/hypnotic-devices/videos/museum-of-symmetry
https://palomadawkins.com/
https://palomadawkins.com/Museum-of-Symmetry

Keita Takahashi and "Noby Noby Boy" (2009)
https://watch.supernova.video/hypnotic-devices/videos/noby-noby-boy ]]]></description>
<dc:subject>hypnoticdevices games gaming videogames animation interactivefiction nobynobyboy keitatakahashi experimentation experimental form multiliteracies papersplease studiooleomingus davidoreilly shedreamselsewhere virtualreality vr supernova film adamrobinsonyu ashorthike bearwarp blusterblunder studiozevere queenbeegames spinch taleoftales theendlessforest underaporcelainsun tjhughes palomadawkins nour museumofsymmetry adamgryu lucaspope toplay</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:8846a6329d81/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:hypnoticdevices"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:games"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:gaming"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:videogames"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:interactivefiction"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nobynobyboy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:keitatakahashi"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:experimentation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:experimental"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:form"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:multiliteracies"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:papersplease"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:studiooleomingus"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:davidoreilly"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:shedreamselsewhere"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:virtualreality"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:vr"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:supernova"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:film"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:adamrobinsonyu"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ashorthike"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:bearwarp"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:blusterblunder"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:studiozevere"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:queenbeegames"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:spinch"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:taleoftales"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:theendlessforest"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:underaporcelainsun"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tjhughes"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:palomadawkins"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nour"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:museumofsymmetry"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:adamgryu"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:lucaspope"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:toplay"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://remezcla.com/features/film/interview-nahuel-libro-magico-mapuche-animation/">
    <title>Animated Chilean Film Is Based on Mapuche Mythology</title>
    <dc:date>2020-07-14T08:06:43+00:00</dc:date>
    <link>https://remezcla.com/features/film/interview-nahuel-libro-magico-mapuche-animation/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>chile film chiloé animation mythology mapuche 2020 germánacuña towatch</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:29e3d27ffcb3/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:chile"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:film"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:chiloé"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mythology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mapuche"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2020"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:germánacuña"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:towatch"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.artofthetitle.com/title/style-frames-2016/">
    <title>Style Frames 2016 (2016) — Art of the Title</title>
    <dc:date>2020-04-10T01:35:54+00:00</dc:date>
    <link>https://www.artofthetitle.com/title/style-frames-2016/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In the magical and surreal worlds formed by animator and artist Eran Hilleli, creatures great and small come together through a connection with their strange surroundings, blurring the lines between person and place and experiencing epic journeys.

In Hilleli’s animated title sequence for Style Frames 2016, a creative conference that took place in New York City in early November, a lone, cloaked figure steps out onto a narrow bridge and walks confidently toward an enormous bugle. The figure breathes deeply and then sounds the horn, which rings out across landscapes of striped crags, fields of canary yellow grass and pale pink stones, penetrating into the depths of the forest. Various creatures emerge from holes and trees and ovoid homes, silently slotting themselves alongside each other. They have been called, and they will come. They walk together, bearded and hoofed, mottled and glowing, lumbering and hopping, a gorgeous ragtag group traversing forest and desert and valley and growing as they go. The music by Disasterpeace, rising slowly toward a calm crescendo, infuses the scenes with grandeur and serenity. They reach the sea, the edge of the land, and watch as an immense creature rises from the water. Its mouth is gaping and its eyes are wide. It dwarfs the mountains, placing everything in shadow, and suddenly the situation seems dire. In a flash, the lightness returns. The bugle becomes a projector, and the creature’s chest a screen. It smiles, a sense of relief washing over it as various shapes flicker in the light. Back on the shore, the creatures cheer. They, and the conference audience, have come together willingly and with purpose, looking for inspiration and answering the call."]]></description>
<dc:subject>2016 animation eranhilleli video 3d maya videogames film disasterpiece paprika moomins totoro ponyo studioghibli cgi lolalandekic vimeo stevenprice howweowork betweenbears myneighbortotoro</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:51cd552c69d3/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2016"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:eranhilleli"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:video"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:3d"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:maya"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:videogames"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:film"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:disasterpiece"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:paprika"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:moomins"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:totoro"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ponyo"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:studioghibli"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cgi"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:lolalandekic"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:vimeo"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:stevenprice"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:howweowork"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:betweenbears"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:myneighbortotoro"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://iorama.studio/">
    <title>iorama.studio: looom</title>
    <dc:date>2020-04-09T17:47:26+00:00</dc:date>
    <link>https://iorama.studio/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also: https://apps.apple.com/app/looom/id1454153126
https://9to5mac.com/2020/03/26/looom-ipad-app-review/ ]]]></description>
<dc:subject>ios ipad animation applications ipados iphone looom ui</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:a81b152c4b0c/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ios"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ipad"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:applications"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ipados"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:iphone"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:looom"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ui"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.theparisreview.org/blog/2018/10/22/hayao-miyazakis-cursed-worlds/">
    <title>Hayao Miyazaki’s Cursed Worlds</title>
    <dc:date>2020-02-11T21:23:29+00:00</dc:date>
    <link>https://www.theparisreview.org/blog/2018/10/22/hayao-miyazakis-cursed-worlds/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“I brought a friend with me the first time I saw Princess Mononoke in an American movie theater. He had no experience with Miyazaki or with Japanese culture or animation, but he was intrigued to see what promised to be a grand adventure story, especially one that was appearing in the United States under the auspices of Disney. In the middle of watching the movie, however, he started nudging me. “Who’s the good guy?” he hissed irritably. “I can’t tell which is the good guy and which is the bad guy!” “That’s the whole point!” I whispered back.

Princess Mononoke inaugurated a new chapter in Miyazakiworld. Ambitious and angry, it expressed the director’s increasingly complex worldview, putting on film the tight intermixture of frustration, brutality, animistic spirituality, and cautious hope that he had honed in his manga Nausicaä of the Valley of the Wind. The film offers a mythic scope, unprecedented depictions of violence and environmental collapse, and a powerful vision of the sublime, all within the director’s first-ever attempt at a jidaigeki, or historical film. It also moves further away from the family fare that had made him a treasured household name in Japan.

In the complicated universe of Princess Mononoke, there is no longer room for villains such as Future Boy Conan’s power-hungry Repka, the greedy Count of The Castle of Cagliostro, or the evil Muska of Laputa: Castle in the Sky. Miyazaki instead gives his audiences the ambitious but generous Lady Eboshi and the enigmatic monk Jiko-bō, who insists that we live in a cursed world. Jiko-bō isn’t the only one who thinks this, apparently. In the darkest moments of his tale of humans battling the “wild gods” of the natural world in fourteenth-century Japan, Miyazaki seems to be saying that all the dwellers of this realm, human and nonhuman, are equally cursed. Princess Mononoke raises questions Miyazaki had implicitly asked in the Nausicaä manga: Given what humanity has done to the planet, do we have a right to keep on waging war against the nonhuman other? Is there any way that humans and nonhumans can coexist? 

These questions struck a deep chord in Japanese audiences, and the movie opened a new chapter in Miyazaki’s influence on Japanese society. Princess Mononoke became not simply a hit but a cultural phenomenon. The Japanese media celebrated the more than two thousand eager fans who lined up for the movie’s first screening in Tokyo, then vociferously commemorated the moment when the film surpassed the country’s previous highest earning movie, Steven Spielberg’s E. T. Magazine articles and even special issues on the film flooded Japan, tackling everything from the movie’s reworking of traditional history and its varied and impressive group of voice actors to its innovative animation techniques, including Studio Ghibli’s first use of computers and digital painting.

Miyazaki was interviewed on subjects ranging from environmental degradation to his judgment on whether children should see such a violent movie (on which he reversed himself, initially saying that they should not see it and then insisting that children would make the best audience). His fame among anime fans had been building for many years, and the success of his 1989 film, Kiki’s Delivery Service, opened up a still wider audience, but it is with Princess Mononoke that Miyazaki became a celebrity of sorts. This does not mean that he built a flashy house and started dating supermodels. He remained in the unpretentious Tokyo suburb of Tokorozawa and continued to welcome friends and staff members to the rustic cabin his father-in-law had built in the mountains of Nagano prefecture. In an interview after Princess Mononoke’s release, he spoke longingly of a desire “just to go away and live in a cabin in the mountains.”

This desire for retreat was understandable. As numerous articles and a six-hour documentary on the making of the film make clear, Princess Mononoke was the most stress-inducing film the director had created. Notably longer and far more expensive than any previous Studio Ghibli film, the work required almost superhuman efforts on the part of Miyazaki and his increasingly weary staff. Given Miyazaki’s obsessive attention to detail, the film’s epic scope, historical setting, and wide cast of characters made the preparation period alone intensely time-consuming, to say nothing of the time that the actual production took. Exhausted by the experience, some of the veterans who had worked on Princess Mononoke left the company when the film was finished to be replaced by new animators.

Toshio Suzuki, who produced Princess Mononoke, recalls a moment when Miyazaki finally “exploded” after being asked to do too many things in too short a time. The director was “correcting the storyboards, checking the originals, aligning the music to the story, and presiding over the ‘after recordings’ ”—vocals added after the initial animation is complete. He was also giving interviews on television and to newspapers and magazines, all while being involved with the marketing and with introducing the film to audiences as it was rolled out over Japan. As Suzuki puts it, Miyazaki had “given his body and soul” to the movie and was beyond exhaustion. Suzuki remembers being with the director the night before the movie’s premiere in the provincial city of Kochi. Miyazaki lay in bed and with a felt pen drew a sketch of his own face. Handing the paper to Suzuki, he said curtly, “Here, you put this on and go out and pretend to be me at the movie tomorrow.” Princess Mononoke’s aftermath would mark the beginning of the director’s retreat from extensive public-relations responsibilities.

The all-out marketing campaign that surrounded the movie marked a first: the studio marketed it as a Ghibli film rather than a Miyazaki film. This change was more than symbolic, attesting to the ascendance of Suzuki as Ghibli’s main producer in the widening realm of Miyazakiworld. Involved with Miyazaki and Isao Takahata since his days as an editor at Animage, he was widely credited with successfully marketing Kiki’s Delivery Service. But Princess Mononoke’s record-breaking box-office performance was deemed Suzuki’s most spectacular success to date, launching him firmly into a highly visible position in the animation industry. Viewed as the pragmatist who enables Miyazaki to express his idealistic vision, Suzuki became an increasingly dominant force at Ghibli. Indeed, the documentary on the making of Princess Mononoke sometimes appears to be allotting almost as much face time to the producer as to the man who actually directed the film.

New faces were also coming in from overseas. In 1997, Ghibli’s parent company, Tokuma Shoten, announced a deal with Disney to distribute its products worldwide. Suzuki had arranged the agreement, and it was a huge achievement for him and for Ghibli. The deal expanded Ghibli’s influence globally in one stroke and achieved an enormous public-relations coup at home. More than a thousand reporters attended the press conference announcing the deal. As Suzuki disarmingly explained, “The announcement that [Princess Mononoke] would be opening across America was important only in that it helped us capture market share at home.”

In fact, Princess Mononoke, despite an elegant English-language script written by the fantasy writer Neil Gaiman, and an impressive roster of American and English voice actors, did not perform particularly well in the United States. While the film critic Janet Maslin of the New York Times praised the film’s “exotically beautiful action” and Miyazaki’s construction of “an elaborate moral universe,” she also felt compelled to mention its occasionally “knotty” plot and sometimes “gruesome” imagery. A Japanese journalist wondered later, “How could [Americans who were] used to stories about good versus evil, full of musical numbers and comical sidekicks, and always with a happy ending, be expected to appreciate the appeal of Studio Ghibli’s offerings?”

Miyazaki’s feelings about the new arrangement with Disney are cloudy. Beyond a rather vague speech at the press conference, I can find no public pronouncement by him on the subject. Over the years, neither he nor Suzuki had had much good to say about Disney, so it seems likely that the arrangement was a purely practical one for the benefit of both parties. But Miyazaki and Suzuki could at least be satisfied that they had broken new ground for quality Japanese animation. Furthermore, the Oscar later awarded to Miyazaki’s 2001 film, Spirited Away, would show that American audiences could indeed appreciate something beyond “happily ever after.”

Although groundbreaking in many ways, Princess Mononoke did not come out of nowhere. By the early nineties, Miyazaki had completed his first adult-oriented feature film, Porco Rosso, and was finally finishing the Nausicaä manga. Always searching for new inspirations, he became intrigued by the idea of doing something with the Hōjōki, a classic work from the thirteenth century. A brief, beautifully written reflection on the world and the transience of life, the Hōjōki is still part of the curriculum in most Japanese schools.

The Hōjōki is not an obvious candidate for a movie, animated or otherwise. Written by Kamo no Chōmei, a former courtier who had grown disillusioned by the ways of the world and became a Buddhist monk, the work appeared in 1223, at a time when military takeovers, famine, pestilence, and natural disasters such as earthquakes and floods rocked the capital and claimed thousands of lives. The Hōjōki chronicles these disasters from a safe distance, through the viewpoint of a thoughtful, poetic man who sees in the apocalyptic events around him a reason for retreat and reflection.

Miyazaki’s interest in the Hōjōki was stimulated by a book called Hōjōkiden, by a favorite novelist of his, Yoshie Hotta. But beyond such influences, Miyazaki’s own frame of mind played a part in sending the director’s art in grimmer directions than the largely upbeat family-oriented works of the seventies and eighties. As evidenced by both Porco Rosso and Nausicaä, he had grown increasingly disillusioned with authoritarian ideologies, and his growing anxieties about the vulnerability of the natural environment were reflected in Nausicaä’s apocalyptic themes.

Miyazaki admired the great live-action film director Akira Kurosawa, whose jidaigeki—period films featuring samurai—had hugely influenced postwar Japanese cinema. But Miyazaki wanted to do much more than create a piece of historical entertainment. Building on Hotta’s view of Hōjōki as a critique of the militarism and false ideologies of Kamo no Chōmei’s period, he hoped to create a work that would comment on Japan’s emptiness and confusion in the postbubble era. A country that had worshiped materialism and success seemed now to be floundering in a spiritual vacuum, reflected in the increasing use among contemporary Japanese of the word kyomu: emptiness.

[image]

Two major incidents in 1995 had traumatized Japan. The first was the Kobe earthquake in February, which killed between four thousand and six thousand people and was the worst earthquake to hit the country since the Great Kantō earthquake of 1923. For a modern industrialized nation, the scale of destruction was truly shocking. It seemed as if nature itself were seeking vengeance on human civilization. The earthquake was followed a month later by the Aum Shinrikyo incident, when members of an apocalyptic religious cult released sarin gas in a busy station in the Tokyo subway system, killing twelve people and injuring thousands more. These two terrifying episodes underlined the increasing sense of vulnerability felt by the Japanese, on both a psychological and an environmental level.

As a dweller in perilous times, Kamo no Chōmei would have been all too familiar with experiences like the horror of the Kobe earthquake and with the apocalyptic despair that inspired the Aum Shinrikyo incident. While Miyazaki ultimately abandoned the idea of filming the Hōjōki, he continued to consider a medieval period piece treating natural and technological catastrophe and the question of how to live in a complicated and terrible world. Unlike Chōmei or Kurosawa, Miyazaki wanted to give equal agency to human, natural, and supernatural forces.

At its most fundamental level the movie asks: Can we live ethically in a cursed world? And if so, how? Princess Mononoke offers two related possible solutions. The first is simply to “Live!” (Ikiro!), the catchphrase emblazoned on the movie posters and uttered by the movie’s protagonist, Ashitaka, to the desperate wolf princess San as she struggles to deal with her fear and resentment of humanity. In context, it tells us we cannot give up, no matter what, a message that Miyazaki felt imperative in the emotionally apathetic landscape of nineties Japan. The second is “to see with eyes unclouded”—a challenge, as the movie presents both bloodthirsty beast attacks and relentless human industrialization, and asks us to observe all sides with clarity and objectivity.“]]></description>
<dc:subject>hayaomiyazaki 2018 susannapier princessmononoke film animation worldbuilding akirakurosawa filmmaking japan hōjōki emptiness yoshiehotta porcorosso nausicaä kamonochōmei spiritedaway storytelling studioghibli manga castleinthesky futureboyconan war multispecies morethanhuman mythology environment environmentalism interconnected interconnectedness interdependence industrialization landscape interconnectivity</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:4416be17562d/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:hayaomiyazaki"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2018"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:susannapier"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:princessmononoke"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:film"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:worldbuilding"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:akirakurosawa"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:filmmaking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:japan"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:hōjōki"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:emptiness"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:yoshiehotta"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:porcorosso"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nausicaä"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:kamonochōmei"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:spiritedaway"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:storytelling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:studioghibli"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:manga"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:castleinthesky"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:futureboyconan"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:war"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:multispecies"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:morethanhuman"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mythology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:environment"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:environmentalism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:interconnected"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:interconnectedness"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:interdependence"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:industrialization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:landscape"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:interconnectivity"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://github.com/IanLunn/Hover">
    <title>GitHub - IanLunn/Hover: A collection of CSS3 powered hover effects to be applied to links, buttons, logos, SVG, featured images and so on. Easily apply to your own elements, modify or just use for inspiration. Available in CSS, Sass, and LESS.</title>
    <dc:date>2019-10-25T07:28:20+00:00</dc:date>
    <link>https://github.com/IanLunn/Hover</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“A collection of CSS3 powered hover effects to be applied to links, buttons, logos, SVG, featured images and so on. Easily apply to your own elements, modify or just use for inspiration. Available in CSS, Sass, and LESS. http://ianlunn.github.io/Hover/ “

[Seen here: https://mayaontheinter.net/ ]]]></description>
<dc:subject>animation css effects github ianlunn css3 sass less webdev</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:483bf0ecdc12/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:css"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:effects"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:github"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ianlunn"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:css3"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sass"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:less"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:webdev"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://matthewrayfield.com/articles/animating-urls-with-javascript-and-emojis/">
    <title>Animating URLs with Javascript and Emojis</title>
    <dc:date>2019-08-30T15:43:57+00:00</dc:date>
    <link>http://matthewrayfield.com/articles/animating-urls-with-javascript-and-emojis/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“You can use emoji (and other graphical unicode characters) in URLs. And wow is it great. But no one seems to do it. Why? Perhaps emoji are too exotic for normie web platforms to handle? Or maybe they are avoided for fear of angering the SEO gods?

Whatever the reason, the overlapping portion on the Venn diagram of “It’s Possible v.s. No One Is Doing It” is where my excitement usually lies. So I decided to put a little time into the possibilities of graphical characters in URLs. Specifically, with the possibility for animating these characters by way of some Javascript.”

[direct link to video: https://www.youtube.com/watch?v=4YZt4HEv48Y ]]]></description>
<dc:subject>matthewrayfield animation emoji javascript webdev</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:256921586d6c/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:matthewrayfield"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:emoji"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:javascript"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:webdev"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.wired.com/story/future-book-is-here-but-not-what-we-expected/">
    <title>The 'Future Book' Is Here, but It's Not What We Expected | WIRED</title>
    <dc:date>2019-01-06T05:16:12+00:00</dc:date>
    <link>https://www.wired.com/story/future-book-is-here-but-not-what-we-expected/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["THE FUTURE BOOK was meant to be interactive, moving, alive. Its pages were supposed to be lush with whirling doodads, responsive, hands-on. The old paperback Zork choose-your-own-adventures were just the start. The Future Book would change depending on where you were, how you were feeling. It would incorporate your very environment into its story—the name of the coffee shop you were sitting at, your best friend’s birthday. It would be sly, maybe a little creepy. Definitely programmable. Ulysses would extend indefinitely in any direction you wanted to explore; just tap and some unique, mega-mind-blowing sui generis path of Joycean machine-learned words would wend itself out before your very eyes.

Prognostications about how technology would affect the form of paper books have been with us for centuries. Each new medium was poised to deform or murder the book: newspapers, photography, radio, movies, television, videogames, the internet.

Some viewed the intersection of books and technology more positively: In 1945, Vannevar Bush wrote in The Atlantic: “Wholly new forms of encyclopedias will appear, ready made with a mesh of associative trails running through them, ready to be dropped into the memex and there amplified.”

Researcher Alan Kay created a cardboard prototype of a tablet-like device in 1968. He called it the "Dynabook," saying, “We created a new kind of medium for boosting human thought, for amplifying human intellectual endeavor. We thought it could be as significant as Gutenberg’s invention of the printing press 500 years ago.”

In the 1990s, Future Bookism hit a kind of beautiful fever pitch. We were so close. Brown University professor Robert Coover, in a 1992 New York Times op-ed titled “The End of Books,” wrote of the future of writing: “Fluidity, contingency, indeterminacy, plurality, discontinuity are the hypertext buzzwords of the day, and they seem to be fast becoming principles, in the same way that relativity not so long ago displaced the falling apple.” And then, more broadly: “The print medium is a doomed and outdated technology, a mere curiosity of bygone days destined soon to be consigned forever to those dusty unattended museums we now call libraries.”

Normal books? Bo-ring. Future Books? Awesome—indeterminate—and we were almost there! The Voyager Company built its "expanded books" platform on Hypercard, launching with three titles at MacWorld 1992. Microsoft launched Encarta on CD-ROM.

But … by the mid-2000s, there still were no real digital books. The Rocket eBook was too little, too early. Sony launched the eink-based Librie platform in 2004 to little uptake. Interactive CD-ROMs had dropped off the map. We had Wikipedia, blogs, and the internet, but the mythological Future Book—some electric slab that would somehow both be like and not like the quartos of yore—had yet to materialize. Peter Meirs, head of technology at Time, hedged his bets perfectly, proclaiming: “Ultimately, there will be some sort of device!”

And then there was. Several devices, actually. The iPhone launched in June 2007, the Kindle that November. Then, in 2010, the iPad arrived. High-resolution screens were suddenly in everyone’s hands and bags. And for a brief moment during the early 2010s, it seemed like it might finally be here: the glorious Future Book."

…

"Yet here’s the surprise: We were looking for the Future Book in the wrong place. It’s not the form, necessarily, that needed to evolve—I think we can agree that, in an age of infinite distraction, one of the strongest assets of a “book” as a book is its singular, sustained, distraction-free, blissfully immutable voice. Instead, technology changed everything that enables a book, fomenting a quiet revolution. Funding, printing, fulfillment, community-building—everything leading up to and supporting a book has shifted meaningfully, even if the containers haven’t. Perhaps the form and interactivity of what we consider a “standard book” will change in the future, as screens become as cheap and durable as paper. But the books made today, held in our hands, digital or print, are Future Books, unfuturistic and inert may they seem."

[sections on self-publishing, crowdfunding, email newsletters, social media, audiobooks and podcasts, etc.]

…

"It turns out smartphones aren’t the best digital book reading devices (too many seductions, real-time travesties, notifications just behind the words), but they make excellent audiobook players, stowed away in pockets while commuting. Top-tier podcasts like Serial, S-Town, and Homecoming have normalized listening to audio or (nonfiction) booklike productions on smartphones."

…

"Last August, a box arrived on my doorstep that seemed to embody the apotheosis of contemporary publishing. The Voyager Golden Record: 40th Anniversary Edition was published via a crowdfunding campaign. The edition includes a book of images, three records, and a small poster packaged in an exquisite box set with supplementary online material. When I held it, I didn’t think about how futuristic it felt, nor did I lament the lack of digital paper or interactivity. I thought: What a strange miracle to be able to publish an object like this today. Something independently produced, complex and beautiful, with foil stamping and thick pages, full-color, in multiple volumes, made into a box set, with an accompanying record and other shimmering artifacts, for a weirdly niche audience, funded by geeks like me who are turned on by the romance of space.

We have arrived to the once imagined Future Book in piecemeal truths.

Moving images were often espoused to be a core part of our Future Book. While rarely found inside of an iBooks or Kindle book, they are here. If you want to learn the ukulele, you don’t search Amazon for a Kindle how-to book, you go to YouTube and binge on hours of lessons, stopping when you need to, rewinding as necessary, learning at your own pace.

Vannevar Bush's “Memex” essentially described Wikipedia built into a desk.

The "Hitchhiker’s Guide to the Galaxy" in The Hitchhiker's Guide to the Galaxy is an iPhone.

In The Book of Sand, Borges wrote of an infinite book: "It was then that the stranger told me: 'Study the page well. You will never see it again.'" Describing in many ways what it feels like to browse the internet or peek at Twitter.

Our Future Book is composed of email, tweets, YouTube videos, mailing lists, crowdfunding campaigns, PDF to .mobi converters, Amazon warehouses, and a surge of hyper-affordable offset printers in places like Hong Kong.

For a “book” is just the endpoint of a latticework of complex infrastructure, made increasingly accessible. Even if the endpoint stays stubbornly the same—either as an unchanging Kindle edition or simple paperback—the universe that produces, breathes life into, and supports books is changing in positive, inclusive ways, year by year. The Future Book is here and continues to evolve. You’re holding it. It’s exciting. It’s boring. It’s more important than it has ever been.

But temper some of those flight-of-fancy expectations. In many ways, it’s still a potato."]]></description>
<dc:subject>craigmod ebooks reading howweread 2018 kindle eink print publishing selfpublishing blurb lulu amazon ibooks apple digital bookfuturism hypertext hypercard history vannevarbush borges twitter animation video newsletters email pdf mobi epub infrastructure systems economics goldenrecord voyager audio audiobooks smarthphones connectivity ereaders podcasts socialmedia kevinkelly benthompson robinsloan mailchimp timbuktulabs elenafavilli francescacavallo jackcheng funding kickstarter crowdfunding blogs blogging wikipedia internet web online writing howwewrite self-publishing youtube epaper</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:96903d413e84/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:craigmod"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ebooks"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:reading"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:howweread"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2018"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:kindle"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:eink"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:print"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:publishing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:selfpublishing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:blurb"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:lulu"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:amazon"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ibooks"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:apple"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:digital"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:bookfuturism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:hypertext"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:hypercard"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:vannevarbush"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:borges"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:twitter"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:video"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:newsletters"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:email"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:pdf"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mobi"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:epub"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:infrastructure"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:systems"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:economics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:goldenrecord"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:voyager"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:audio"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:audiobooks"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:smarthphones"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:connectivity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ereaders"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:podcasts"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:socialmedia"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:kevinkelly"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:benthompson"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:robinsloan"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mailchimp"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:timbuktulabs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:elenafavilli"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:francescacavallo"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:jackcheng"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:funding"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:kickstarter"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:crowdfunding"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:blogs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:blogging"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:wikipedia"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:internet"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:web"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:online"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:writing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:howwewrite"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:self-publishing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:youtube"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:epaper"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.theverge.com/2018/12/5/18055980/better-worlds-science-fiction-short-stories-video">
    <title>Announcing Better Worlds: a science fiction project about hope - The Verge</title>
    <dc:date>2018-12-07T21:01:55+00:00</dc:date>
    <link>https://www.theverge.com/2018/12/5/18055980/better-worlds-science-fiction-short-stories-video</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Contemporary science fiction often feels fixated on a sort of pessimism that peers into the world of tomorrow and sees the apocalypse looming more often than not. At a time when simply reading the news is an exercise in exhaustion, anxiety, and fear, it’s no surprise that so many of our tales about the future are dark amplifications of the greatest terrors of the present. But now more than ever, we also need the reverse: stories that inspire hope.

That’s why, starting on January 14th, we’ll be publishing Better Worlds: 10 original fiction stories, five animated adaptations, and five audio adaptations by a diverse roster of science fiction authors who take a more optimistic view of what lies ahead in ways both large and small, fantastical and everyday.

Growing up, I was surrounded by optimistic science fiction — not only the idealism of television shows like Star Trek, but also the pulpy, thrilling adventures of golden age science fiction comics. They imagined worlds where the lot of humanity had been improved by our innovations, both technological and social. Stories like these are more than just fantasy and fabulism; they are articulations of hope. We need only look at how many tech leaders were inspired to pursue careers in technology because of Star Trek to see the tangible effect of inspirational fiction. (Conversely, Snow Crash author Neal Stephenson once linked the increasing scarcity of optimistic science fiction to “innovation starvation.”)

Better Worlds is partly inspired by Stephenson’s fiction anthology Hieroglyph: Stories and Visions for a Better Future as well as Octavia’s Brood: Science Fiction Stories from Social Justice Movements, a 2015 “visionary fiction” anthology that is written by a diverse array of social activists and edited by Walidah Imarisha and adrienne maree brown. Their premise was simple: whenever we imagine a more equitable, sustainable, or humane world, we are producing speculative fiction, and this creates a “vital space” that is essential to forward progress.

The stories of Better Worlds are not intended to be conflict-free utopias or Pollyanna-ish paeans about how tech will solve everything; many are set in societies where people face challenges, sometimes life-threatening ones. But all of them imagine worlds where technology has made life better and not worse, and characters find a throughline of hope. We hope these stories will offer you the same: inspiration, optimism, or, at the very least, a brief reprieve that makes you feel a little bit better about what awaits us in the future — if we find the will to make it so.

—Laura Hudson, Culture Editor, The Verge

BETTER WORLDS STORIES

“A Theory Of Flight”
By Justina Ireland | Animation by All In Pixel
A daring plan to build an open-source rocket could help more people escape Earth.

“Move The World”
By Carla Speed McNeil
Once in your life, you can choose to pull a lever that resets the world — but will it make things better?

“A Model Dog”
By John Scalzi | Animation by Joel Plosz
An overbearing CEO demands that his employees engineer a solution to his dad’s aging dog.

“Online Reunion”
By Leigh Alexander
A young journalist chronicling a vintage e-pet reunion gets more than she expected.

“St. Juju”
By Rivers Solomon | Animation by Allen Laseter
A young woman must choose between her secure enclave and the one she loves.

“Monsters In Their Season”
By Cadwell Turnbull
An island commonwealth integrates an AI to defend itself against a worsening hurricane season.

“Overlay”
By Elizabeth Bonesteel | Animation by Device
A family hopes that running the perfect simulation can wake the father from a coma.

“Skin City”
By Kelly Robson
A street performer gets into trouble after falling for a radical privacy devotee.

“A Sun Will Always Sing”
By Karin Lowachee | Animation by Yeah Haus
A spacecraft carrying precious cargo embarks on a lifetime journey to a better world.

“The Burn”
By Peter Tieryas
As people around the world fall victim to The Burn, AR researchers begin to suspect a pattern."

[See also: https://www.youtube.com/watch?v=CAyBWYlLGGo ]]]></description>
<dc:subject>theverge towatch sciencefiction scifi optimism technooptimism animation stories hope nealstephenson walidahimarisha adriennemareebrown inspiration justinaireland carlaspeedmcneil johnscalzi joelplosz leighalexander allenlaseter riverssolomon cadwellturnbull elizabthbonesteel kellyrobson karinlowachee petertiervas</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:6d657a9b30a6/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:theverge"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:towatch"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sciencefiction"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:scifi"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:optimism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:technooptimism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:stories"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:hope"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nealstephenson"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:walidahimarisha"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:adriennemareebrown"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:inspiration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:justinaireland"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:carlaspeedmcneil"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:johnscalzi"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:joelplosz"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:leighalexander"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:allenlaseter"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:riverssolomon"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cadwellturnbull"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:elizabthbonesteel"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:kellyrobson"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:karinlowachee"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:petertiervas"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://twitter.com/JonnyDoLake/status/1014581286764244992">
    <title>joão do lago 🌱 on Twitter: &quot;PSA: If you pause a youtube video, you can use the , and . keys to scroll through it frame by frame. Very helpful for animation study and reference.&quot;</title>
    <dc:date>2018-07-06T19:42:16+00:00</dc:date>
    <link>https://twitter.com/JonnyDoLake/status/1014581286764244992</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["PSA: If you pause a youtube video, you can use the , and . keys to scroll through it frame by frame. Very helpful for animation study and reference."]]></description>
<dc:subject>youtube howto tips animation 2018</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:6c06653b6b61/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:youtube"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:howto"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tips"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2018"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.youtube.com/watch?v=8DfOPRryKn8">
    <title>Summer Camp Island | Searching For Yetis | Cartoon Network - YouTube</title>
    <dc:date>2018-06-21T06:17:53+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=8DfOPRryKn8</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Oscar and Hedgehog are searching for yetis, after learning about them in the camp’s winter guide. The campers take a visit to yeti meadow to see real-live yetis in action!"

[See also: 

Summer Camp Island: Opening Sequence
https://www.youtube.com/watch?v=mffPmElSc-c 

official Tumblr
https://summercampsummercamp.tumblr.com/ ]]]></description>
<dc:subject>summercampislands yeti yetis video animation 2018 cartoons seokim</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:0143f2432089/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:summercampislands"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:yeti"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:yetis"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:video"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2018"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cartoons"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:seokim"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://theweek.com/articles/747423/sterilization-condorito">
    <title>The sterilization of Condorito</title>
    <dc:date>2018-01-19T05:53:50+00:00</dc:date>
    <link>https://theweek.com/articles/747423/sterilization-condorito</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>condorito chile lililoofbourow comics 2018 film animation disney latinamerica</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:1d3a910ac79c/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:condorito"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:chile"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:lililoofbourow"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:comics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2018"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:film"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:disney"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:latinamerica"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://en.wikipedia.org/wiki/Your_Name">
    <title>Your Name - Wikipedia</title>
    <dc:date>2017-11-25T18:38:17+00:00</dc:date>
    <link>https://en.wikipedia.org/wiki/Your_Name</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Your Name (Japanese: 君の名は。 Hepburn: Kimi no Na wa.) is a 2016 Japanese animated drama film written and directed by Makoto Shinkai and produced by CoMix Wave Films. The film was produced by Noritaka Kawaguchi and Genki Kawamura, with music composed by Radwimps. Your Name tells the story of a high school girl in rural Japan and a high school boy in Tokyo who swap bodies. The film stars the voices of Ryunosuke Kamiki, Mone Kamishiraishi, Masami Nagasawa, and Etsuko Ichihara. Shinkai's novel of the same name was published a month before the film's premiere.

Your Name was distributed by Toho, it premiered at the Anime Expo 2016 convention in Los Angeles, California on 3 July 2016, and in Japan on 26 August 2016. It received widespread acclaim from critics, who praised the film for its animation and emotional impact, and was also a major commercial success, becoming the fourth-highest-grossing film of all time in Japan, the 7th-highest-grossing traditionally animated film, the highest-grossing anime and Japanese alike film and the 5th-highest-grossing non-English film worldwide[note 1], with a total gross of more than $355 million. The film won the 49th Sitges Film Festival, 2016 Los Angeles Film Critics Association Awards, and 71st Mainichi Film Awards for Best Animated Feature Film, as well as receiving a nomination for the 40th Japan Academy Prize for the Best Animation of the Year. A live-action remake is currently in the works."]]></description>
<dc:subject>anime towatch japan film animation via:robinsloan makotoshinkai srg</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:9637c040cb9a/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:anime"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:towatch"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:japan"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:film"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:via:robinsloan"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:makotoshinkai"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:srg"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.youtube.com/user/theartassignment/about">
    <title>The Art Assignment - YouTube</title>
    <dc:date>2017-07-06T23:52:40+00:00</dc:date>
    <link>https://www.youtube.com/user/theartassignment/about</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Art Assignment is a weekly PBS Digital Studios production hosted by curator Sarah Green. We take you around the U.S. to meet working artists and solicit assignments from them that we can all complete. Check for new episodes every Thursday!"

[via: "3. Intimate, Indispensable GIF - Toyin Odutola"
https://www.youtube.com/watch?v=wgTWPkK5wvo

"In which The Art Assignment visits New York-based artist Toyin Odutola and receives the challenge to create a GIF! But not just any GIF--it must articulate something intimate that is indispensable to you. 

EPISODE 03 INSTRUCTIONS:

1. Think of something intimate that is indispensable to you. (It doesn't have to be a body part. It can be an object, place, memory, anything.)

2. Depict it in the form of a GIF. You don't have to make drawings-you can use photographs, make a sculpture, or whatever you like.

3. Upload it using #theartassignment

4. Fame and glory (your response might be in a future episode)

Find and follow Toyin online: @obia_thethird, toyinodutola.com
and learn more about her work here: http://www.jackshainman.com/artists/toyin-odutola/ "]]]></description>
<dc:subject>art classideas gifs motion animation toyinojihodutola</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:6a5982b6fda1/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:classideas"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:gifs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:motion"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:toyinojihodutola"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://en.wikibooks.org/wiki/Blender_3D:_Noob_to_Pro">
    <title>Blender 3D: Noob to Pro - Wikibooks, open books for an open world</title>
    <dc:date>2017-06-29T06:07:08+00:00</dc:date>
    <link>https://en.wikibooks.org/wiki/Blender_3D:_Noob_to_Pro</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>blender howto via:chenoehart tutorials 3d animation documentation</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:e5cb81de7321/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:blender"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:howto"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:via:chenoehart"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tutorials"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:3d"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:documentation"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.khanacademy.org/partner-content/pixar/storytelling/we-are-all-storytellers/v/video-5-launch">
    <title>Storytelling advice (video) | Khan Academy</title>
    <dc:date>2017-02-21T00:11:59+00:00</dc:date>
    <link>https://www.khanacademy.org/partner-content/pixar/storytelling/we-are-all-storytellers/v/video-5-launch</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via: "Now you can take Pixar’s ‘The Art of Storytelling’ course for free"
http://blog.sfgate.com/techchron/2017/02/16/now-you-can-take-pixars-the-art-of-storytelling-course-for-free/

"Have you always wanted to be Pixar animator? Now that process is a tiny bit easier. The animation studio recently made a number of courses available on the Khan Academy website to help you start your journey — and they’re free.

The group of courses are called “Pixar in a Box” and include short lessons on everything from character modeling and animation to using virtual cameras. Today, it added a new course into the mix: The Art of Storytelling.

The free course is an exploration into the storytelling process at Pixar. From the course description:

“What makes someone a good storyteller? Storytelling is something we all do naturally, starting at a young age, but there’s a difference between good storytelling and great storytelling. In this lesson you’ll hear from Pixar directors and story artists about how they got their start, what stories inspire them, and you’ll begin to think about what kinds of stories you might want to tell.”

Throughout the course, you’ll learn what Pixar creators do to help build their own stories, complete activities, and get advice from Pixar storytellers on how to tell your own stories.

The courses are made up of text and short videos and are designed so that anyone at any skill level can start at the beginning and dive right in. They’re not quite as comprehensive as what you might learn in a college course but can give you a really good overview of a topic to help you decide if you might want to enroll in a course down the line.

Who knows? The next “Toy Story” might even be your idea."]

[Also available from Pixar:
https://www.khanacademy.org/partner-content/pixar ]]]></description>
<dc:subject>khanacademy pixar storytelling classideas animation filmmaking 2017</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:720392d1a63d/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:khanacademy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:pixar"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:storytelling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:classideas"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:filmmaking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2017"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.lelandkfoster.com/">
    <title>Leland Foster</title>
    <dc:date>2017-02-15T02:39:47+00:00</dc:date>
    <link>http://www.lelandkfoster.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[reminds me some of the work of Rebecca Mock: http://www.rebeccamock.com/illustrationgifs.html ]]]></description>
<dc:subject>animation gifs animatedgifs lelandfoster</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:1a98b09cf78c/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:gifs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animatedgifs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:lelandfoster"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.nytimes.com/2016/12/14/science/nasa-giphy.html">
    <title>One Small Step for NASA, One Giant Leap for GIFs - The New York Times</title>
    <dc:date>2016-12-17T04:36:13+00:00</dc:date>
    <link>http://www.nytimes.com/2016/12/14/science/nasa-giphy.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also: https://giphy.com/nasa ]]]></description>
<dc:subject>nasa gifs animation 2016 via:austinkleon</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:52cdffce8318/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nasa"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:gifs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2016"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:via:austinkleon"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://twitter.com/saint11/status/803206812661059584">
    <title>Saint 11 on Twitter: &quot;Another Monday #tutorial done, get more tutorials and support this series here https://t.co/buw3dF8BTd #pixelart https://t.co/uhyY1bAaq4&quot;</title>
    <dc:date>2016-12-16T02:29:29+00:00</dc:date>
    <link>https://twitter.com/saint11/status/803206812661059584</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>pixelart animation tutorial howto gifs 2016 loops</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:2519d4f059e6/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:pixelart"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tutorial"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:howto"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:gifs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2016"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:loops"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://twitter.com/Bandygrass/status/809420271769686016">
    <title>Sandy Gordon⭐️ on Twitter: &quot;My first #pixelart tutorial! It was really fun and hopefully useful to a few people🏃🚶Link to Hi-Res version https://t.co/pTSEeT7Dm4 #gamedev https://t.co/n5hfpBGEZq&quot;</title>
    <dc:date>2016-12-16T02:29:01+00:00</dc:date>
    <link>https://twitter.com/Bandygrass/status/809420271769686016</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>pixelart animation tutorial howto sandygordon gifs 2016</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:0f07bf2930d6/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:pixelart"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tutorial"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:howto"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sandygordon"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:gifs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2016"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.youtube.com/watch?v=xf0WjeE6eyM">
    <title>AKIRA: How To Animate Light - YouTube</title>
    <dc:date>2016-12-08T03:45:13+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=xf0WjeE6eyM</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>akira lighting animation anime tokyo filmmaking katsuhirootomo evanpuschak nerdwriter videoessays nerdwriter1</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:60eb3da218bd/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:akira"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:lighting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:anime"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tokyo"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:filmmaking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:katsuhirootomo"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:evanpuschak"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nerdwriter"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:videoessays"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nerdwriter1"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://blog.google/products/earth/our-most-detailed-view-earth-across-space-and-time/">
    <title>Our most detailed view of Earth across space and time</title>
    <dc:date>2016-11-30T02:50:02+00:00</dc:date>
    <link>https://blog.google/products/earth/our-most-detailed-view-earth-across-space-and-time/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via: http://roomthily.tumblr.com/post/153840891842/our-most-detailed-view-of-earth-across-space-and ]]]></description>
<dc:subject>time earth timelapse classideas satelliteimagery imagery animation googleearth</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:514b611db2ac/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:time"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:earth"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:timelapse"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:classideas"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:satelliteimagery"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:imagery"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:googleearth"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.nicolassassoon.com/">
    <title>W E L C O M E [http://www.nicolassassoon.com/]</title>
    <dc:date>2016-11-30T01:53:42+00:00</dc:date>
    <link>http://www.nicolassassoon.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[ http://www.nicolassassoon.com/PATTERNS.html
http://www.nicolassassoon.com/INDEX/INDEX.html ]]]></description>
<dc:subject>webdesign animation gifs color webdev sfsh via:tealtan nicolassassoon</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:cccf70510003/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:webdesign"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:gifs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:color"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:webdev"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sfsh"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:via:tealtan"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nicolassassoon"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.economist.com/blogs/prospero/2016/08/don-t-need-no-education">
    <title>Don’t need no education: What Danes consider healthy children’s television | The Economist</title>
    <dc:date>2016-08-14T02:12:38+00:00</dc:date>
    <link>http://www.economist.com/blogs/prospero/2016/08/don-t-need-no-education</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A DAY into my holiday (spent with my wife’s family) in Denmark, and the changes are striking enough to move me back to the keyboard. Perhaps it was the display of life-sized nude photographs of young women, kicking off discussion about whether the choice of bodies was representative enough. Or perhaps it’s the casual way Danes use the English word "fuck", not because they’re especially foul-mouthed but because the word was imported without much of its taboo force. On the flight over I heard a nicely dressed middle-aged mother use it with her young daughters, in mild irritation but not anger.

But perhaps the most striking raw difference is on television, and specifically Ramasjang, the public children’s television channel. (It is part of DR, Denmark’s equivalent of the BBC.) It is everything that American or British kids’ programming is not.

It is naughty. Perhaps its most beloved character is Onkel Reje (“Uncle Shrimp”), a sailor-themed character in a red suit with a scruffy beard. He picks his nose. His stinky socks tell each other jokes. But much more than that, in the best Danish tradition, he mocks beloved institutions: his grandmother lights a fart on fire. He says the worst gift he ever got for Christmas—from Queen Margarethe herself—was the washbasin she washes her bare bottom in. And God he says, lives in heaven with Santa Claus and their dog Marianne, implying that the Supreme Being is not only imaginary, but also gay.

DR should have known this is what they would get when they hired, for the actor playing Onkel Reje, Mads Geertsen, who had previously recorded as a kind of avant-garde musician under the name Je m’appelle Mads. It boggles the mind that the producers at Ramasjang saw this video—in which a mostly naked Mads offers rude tributes to Denmark like a dancing pack of cigarettes and a cow pooing—and said “let’s give that man a children’s show.”

Yet somehow it’s also incredibly wholesome. The adult actors are frequently fat or ugly, in a way they never would be in America. Some have tattoos or nose-rings, just as they do in the real world. The shows—mostly live-action or puppets, not animation—move at an unhurried pace, two or three characters on the screen at the time, with little frenetic music and infrequent special effects. Whether made in the 2010s or the 1980s, Ramasjang’s shows are downright languid. The contrast is all the clearer when a British or American animated show that DR has licensed comes on, with every corner of the screen buzzing with unnecessary and overstimulating movement.

Probably most striking, though, is another thing lacking: education. Quite simply, there is none, academic or moral. “Kaj and Andrea”, a pair of puppets, are sweet friends, but also goofily flawed: Kaj is terribly self-obsessed, Andrea is warbling and neurotic. When other characters do something wrong, there is little of the obvious consequence-and-lesson resolution of American shows; the results are usually left to speak for themselves. “Buster’s World”, a glacially slow live-action show from the 1980s, follows the title character through various realistic hardly-adventures in and around a country house. When an older boy bullies Buster’s sister, Buster, in revenge, sabotages the older boy’s motorcycle, causing him to go flying off it. This would only make it past American lawyers if a finger-wagging adult lectured Buster and the audience at the end. Instead, Buster finds that his revenge changed little, and the show wanders aimlessly on.

Finally, there is hardly any of the ABC-123 stuff that fills American public television like “Sesame Street”. Ramasjang is entertainment, not a replacement for parents or school. Parents are expected to know when to switch it off (but just in case, the characters go to bed at 8.00pm, and are shown sleeping until the morning) rather than pretend that it is self-improvement.

What’s the secret? DR, including Ramasjang, is a training ground for the much-admired Danish film and television industry. Though its budget is nothing next to the BBC’s or a big American broadcaster’s, it’s big for Denmark, meaning that it brings in the best young film-makers, writers and actors looking for experience. If this state-led approach seems typically Scandinavian, it is also Danish in the best sense of innovating constantly, while refusing to take itself seriously. 

Danish kids begin school much later than they do in Britain or other countries pushing the beginning of formal education earlier and earlier. There is plenty of time for school, and when Danes get there, they end up doing rather well. But until then, they seem utterly unharmed by a childhood of hearing about the queen’s bottom and watching grandma light some bodily gas on fire."

[plenty of Onkel Reje on YouTube: https://www.youtube.com/results?search_query=Onkel+Reje ]]]></description>
<dc:subject>denmark television tv education parenting society via:tealtan 2016 us uk comparison learning animation film funding</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:249370ae3e44/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:denmark"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:television"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tv"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:education"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:parenting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:society"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:via:tealtan"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2016"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:us"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:uk"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:comparison"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:learning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:film"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:funding"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://dunin.itch.io/ptop">
    <title>Paint of Persia by dunin</title>
    <dc:date>2016-06-30T22:05:35+00:00</dc:date>
    <link>https://dunin.itch.io/ptop</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Paint of Persia is an rotoscoping pixel-art tool where you can draw on top of any window or wallpaper or anything you want!

It is specially made for pixel-art animation and sprites.

For example, Anthropomorphic Suspect [https://dunin.itch.io/suspect ] was made with it."

[via http://www.gamasutra.com/view/news/276094/New_Paint_of_Persia_tool_helps_devs_rotoscope_film_into_pixel_art.php
via "Paint of Persia, an app that rotoscopes film into pixel art" https://twitter.com/beep/status/748583986285412352 ]]]></description>
<dc:subject>animation software art filters rotoscoping windows pixelart video edg srg</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:2434d874c770/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:software"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:filters"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:rotoscoping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:windows"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:pixelart"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:video"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:edg"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:srg"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://tulpinteractive.com/spirograph/">
    <title>Spirograph</title>
    <dc:date>2016-06-16T19:34:51+00:00</dc:date>
    <link>http://tulpinteractive.com/spirograph/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>spirographs janwillemtulp animation art webgl visualization via:tealtan</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:be4e00aa0898/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:spirographs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:janwillemtulp"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:webgl"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:visualization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:via:tealtan"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://animagraffs.com/how-a-car-engine-works/">
    <title>How a Car Engine Works - Animagraffs</title>
    <dc:date>2016-04-17T05:16:31+00:00</dc:date>
    <link>http://animagraffs.com/how-a-car-engine-works/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Did you know that your car will take in 20,000 cubic feet of air to burn 20 gallons of fuel? That’s the equivalent of a 2,500 sq. ft. house! If your only experience with a car engine’s inner workings is “How much is that going to cost to fix?” this graphic is for you. Car engines are astoundingly awesome mechanical wonders. It’s time you learned more about the magic under the hood!"]]></description>
<dc:subject>motors encines visualization animation cars jacobo'neal illustration</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:e53686f05834/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:motors"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:encines"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:visualization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cars"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:jacobo'neal"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:illustration"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://charactermodel.tumblr.com/">
    <title>CHARACTER MODEL</title>
    <dc:date>2016-02-23T07:07:56+00:00</dc:date>
    <link>http://charactermodel.tumblr.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Concept Character Art, Character Model Sheets from Games, Movies, Comics, Toys and Animation. Some good Fanart too."]]></description>
<dc:subject>tumblrs art characterdesign comics television film animation games videogames gaming toys via:robinsloan</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:6766b1e501d0/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tumblrs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:characterdesign"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:comics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:television"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:film"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:games"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:videogames"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:gaming"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:toys"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:via:robinsloan"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.brianfolts.com/driver/">
    <title>Google Maps Streetview Player</title>
    <dc:date>2016-02-21T23:17:52+00:00</dc:date>
    <link>http://www.brianfolts.com/driver/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The google maps streetview player will take in either a starting point and end point, or a provided file of a route and provide a playthrough of the google streetview images that are available."]]></description>
<dc:subject>googlemaps streetview maps animation playthrough googlestreetview mapping</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:6fc627d35aff/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:googlemaps"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:streetview"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:maps"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:playthrough"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:googlestreetview"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mapping"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://digitalmateriality.com/">
    <title>DIGITAL-MATERIALITY-OF-GIFS</title>
    <dc:date>2016-01-05T06:39:57+00:00</dc:date>
    <link>http://digitalmateriality.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[HI, my name is Sha.

I love gifs.

Some of my best friends are gifs. One of my sideprojects is GifPop, a site where people upload gifs to print animated cards.

But that's a longer story.

What I do want to talk about is animated gifs as a design material. 

But first off, a quick reminder: no one owns language.

People argue about gif or jif, but it doesn't matter. No one owns language, and even if anyone did no one is a jraphic designer or jraffiti artist.

What i love about gifs are their history and their materiality.

First specified in 1987, the creators later stated in their 1989 revision that "the graphics interchange format is not intended as a platform for animation, even though it can be done in a limited way."

And what a gloriously, gloriously limited way it is.

Animated gifs, whether you are hypnotized by them or nauseated by them, have become a visual language unto themselves, an emotive vocabulary made out of culture.

Gifs are now a medium, and their portability and accessibility to anyone allows for endless remixing and reinterpretation.

Gifs weren't always this way. 

We all remember the various under construction or dancing baby gifs from the 90s, and all the bedazzled backgrounds on myspace pages.

The gif spec limits color palettes to 256 colors, and must store the pixels that have changed for every frame of animation.

This makes them very inefficient for rendering or storing entire movies, but has made them nicely equipped to capture the most delicate of moments.

Because gifs can specify an infinite loop, they both break time and increase legibility, creating the beauty we call a reaction gif.

But gifs aren't just about cutting up bits of media.

The inefficiency of the file format and the upload limits of the social networks themselves have created a whole ecosystem of experimentation and juggling around constraints.

In Jamie Beck and Kevin Burg's work, they realized that by isolating movement they could make gifs at a much higher quality than most, and still fit Tumblr's strict upload requirements, creating the style they call cinemagraphs.

Sports editors like @dshep25 have taken this technique even further, taking advantage of controlled camera angels to collapse and collage many similar shots into a single gif, like this one of Lebron James.

Artists of course are leading this exploration.

The work of dvdp and 89-a both explore extremely limited color palettes while using tight loops and large swaths of black to reduce file size.

The work of Nicolas Fong explores this dense looping to a ridiculous extreme, creating hyperintricate animations that evoke the phenakistoscopes of the 1800s.

And we even see the seams of the network in the content that's posted.

On Tumblr, where upload limits are small but multiple side-by-side gifs are permitted, people collage snippets of dialogue together.

On Imgur, the preferred uploader for redditors, upload limits are much higher, enough for entire scenes to be remixed.

Here on Newhive, artists like molly soda take advantage of the support for transparency and collaging to make pieces like this, displaying messages from her Okcupid inbox.

Content like this just explodes, and with attention comes money.

Newer networks like Vine have popped up, creating their own medium of looping video.

These days for every Vine THERE are a dozen competing looping apps trying to capitalize on this meme economy.

But while these advances are exciting, the mainstreaming of gifs is not without its losses.

Tumblr now has a minimum resolution size. 

Imgur is now promoting its own videogif format.

Facebook and Twitter have started converting gifs to video by default.

While individually these decisions to decrease file sizes or stop gifs from autoplaying make sense, this desire to optimize as well as commercialize gifs ends up siloing these animations from each other, removing the portability and ease of remixing that makes gifs exciting at all.

Gifs are a dumb, limited file format, and in the end this is why they are  important: 

They do not belong to anyone.

Because of their constraints they become a design material, to be played with, challenged, and explored. to try and domesticate them would be missing the point.

This was written BY SHA HWANG For a Pecha Kucha talk in Brooklyn and made into a remixable newhive. The ideas are from the internet.

Thank you to animatedtext for creating the amazing title gif. more detailed sources are INLINE ON THE PAGE to the right >>>>>>>>>

[Also at this URL: http://newhive.com/shashashasha/digital-materiality-of-gifs ]]]></description>
<dc:subject>shahwang gifs animatedgifs internet web facebook vine twitter fileformats constraints art webart tumblr memes remixing portability video animation emotions imgur okcupid redit newhive phenakistoscopes dvdp 89-a @dshep25 cinemagraphs jamiebeck kevinburg history media legibility resolution reactiongifs accessibility 1987 1989 gifpop culture remixculture multiliteracies</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:6f5dc982dab2/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:shahwang"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:gifs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animatedgifs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:internet"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:web"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:facebook"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:vine"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:twitter"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:fileformats"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:constraints"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:webart"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tumblr"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:memes"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:remixing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:portability"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:video"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:emotions"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:imgur"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:okcupid"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:redit"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:newhive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:phenakistoscopes"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dvdp"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:89-a"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:@dshep25"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cinemagraphs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:jamiebeck"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:kevinburg"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:media"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:legibility"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:resolution"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:reactiongifs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:accessibility"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:1987"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:1989"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:gifpop"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:culture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:remixculture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:multiliteracies"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://mixtur.es/normals/esthetics-of-variability/normaltypev154/">
    <title>--ºVvVvV∆VvVvVº--</title>
    <dc:date>2015-12-25T03:14:41+00:00</dc:date>
    <link>http://mixtur.es/normals/esthetics-of-variability/normaltypev154/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[alternate URL: http://normalfutu.re/esthetics-of-variability/presentation/ ]

"N O R M A L T Y P E is designed to be a display font with no fixed shape. Version 1 came out as a piece of parametric  typography, but we thought it was important to introduce motion in our application as soon possible. Hence why now, it comes with the same parameters as in the previous version, but also a ‘step sequencer’ so you can create animation loops to then export as animated GIFs! On top of that, we added a few  new parameters such as ‘connections’ between characters, more punctuation and also a small window for text editing.

N O R M A L T Y P E a été conçue comme une typographie sans aspect fixe. La Version 1  était déjà changeante grâce à sa conception paramétrique , mais nous avons pensé qu’il était capital d’offrir des options d’animation. C’est pourquoi, en plus des paramètres déjà présents dans la dernière mouture, un ‘séquenceur’ a été ajouté afin de pouvoir créer des boucles animées, exportables en GIF! En plus de cela, nous avons ajouté de nouveaux paramètres comme notamment la ‘connexion’ de caractères, plus de ponctuation et même une fenêtre d’édition de texte.

Download N O R M A L T Y P E v1.5.4"]]></description>
<dc:subject>typography fonts animation motion normaltype normals</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:ce12f3fe68a2/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:typography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:fonts"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:motion"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:normaltype"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:normals"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.washingtonpost.com/news/the-intersect/wp/2015/11/20/an-army-of-history-nerds-is-turning-archival-material-into-beautiful-gifs/">
    <title>An army of history nerds is turning archival material into beautiful gifs - The Washington Post</title>
    <dc:date>2015-12-23T20:36:15+00:00</dc:date>
    <link>https://www.washingtonpost.com/news/the-intersect/wp/2015/11/20/an-army-of-history-nerds-is-turning-archival-material-into-beautiful-gifs/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>gifs gifitup dpla classideas photography animation animatedgifs twitter tumblr via:tealtan</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:86591bb86a0c/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:gifs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:gifitup"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dpla"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:classideas"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:photography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animatedgifs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:twitter"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tumblr"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:via:tealtan"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.vice.com/read/chinas-first-net-art-exhibition-113">
    <title>The Untapped Creativity of the Chinese Internet | VICE | United States</title>
    <dc:date>2015-12-21T20:47:33+00:00</dc:date>
    <link>https://www.vice.com/read/chinas-first-net-art-exhibition-113</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["[image]

Somewhere in mainland China, a kid in the grips of puppy love posts one of those raw, unmediated posts so saccharine it's both unbearably endearing and ridiculously funny. It's so completely melodramatic that other users stumble across the post and begin adding their own feelings and thoughts, remixing it to be even funnier. The words are skewed, images and music added, and finally uploaded to Bilibili.com, where users overlay their own comments onto the video in real-time.

The resulting GIFs, poems, videos, and comments spread through the Chinese internet on Sina Weibo and WeChat in a flurry of color and flashing animations. This is So in love, w​ill never feel tired again, an online exhibition of work by Chinese new media and net artist Yin​​g Miao, and it serves as a counterpoint to the West's view of the Chinese internet as bland and heavily censored. Despite all that I've been told in the West, the internet here looks incredibly fun and vibrant to me.

[image]

"The Chinese internet is really raw," Miao tells me. "It's so unlimited but also limited. It's really rich material." We are sitting in a café with our laptops open in downtown Beijing, a brief bike ride from Tiananmen Square. Miao is walking me through her artwork in preparation for the launch of the online exhibition series  Ne​tizenet. Miao impresses upon me the depth of creativity on the Chinese internet, showing how memes emerge and morph across platforms and ideologies and around censorship.

While I'm becoming accustomed to relying on my VPN or Tor to use boringly functional sites like Gmail, Miao is taking me on an unblocked tour of her inspirations, the wildest and weirdest of the Chinese internet from behind the so-called Great Firewall. Here, everything can be remixed and .GIFs are always welcomed. Conversations on WeChat (the most popular messaging platform here) are an endless stream of reaction .GIFs that put Tumblr to shame.

[image]

In the series, LAN Love Poem, Miao explores her complicated feelings around the Chinese web. LAN stands for local area network and is suggestive of the localized nature of the internet, in both law and culture, that we in the West are rarely confronted with. Miao uses type inspired by Taobao.com (a site akin to eBay) and intentionally poor English translations of odes to her censored net. 

The extreme creativity and vibrancy on the Chinese internet is hard to grasp as a Westerner who is a devout defender of free speech. My ignorance of Miao's raw material, and the many other aspects of Chinese net culture that are difficult to grasp is what Netizienet (or 网友网 in Mandarin and Wǎngyǒuwǎng in Pinyin) is all about.

[image]

Using NewHive, a multimedia publishing platform, Netizenet will examine the internet as a medium from within China, an internet very different from what I grew up with in the States. Through an ongoing series of online exhibitions by Chinese and international artists--of which Miao is the first--Netizenet asks important questions about creativity, differing online aesthetics, and location-based web access. Is the Chinese internet uniquely different from the rest of the world's, or does every country's web have its own unique aesthetics and traits?

The curator behind Netizenet is Michelle Proksell, an independent curator, researcher, and artist currently based in Beijing. Proksell was born in Saudi Arabia to expatriate American parents, and moved to the United States when the Gulf War was starting. Proksell loved traveling through Asia as a kid and this is why she eventually returned and has lived in China for over two years.

Proksell sees a ton of potential in Beijing and Shanghai for the arts, especially net art, and wants to help cultivate the scene.  She was fascinated by how the Chinese internet influenced Miao's "artistic aesthetic, process and production," writing that Miao "has a bit of a love affair with the kitschy, low-tech aesthetic, and unreliable nature of this part of the [world wide web.]" ​

[image]

Miao is one of the few net artists in mainland China. She and Proksell have adopted the monumental task of helping to encourage a net art discourse in a country of over 620 million internet users as well as introducing that culture to the West. Proksell tells me, "I really wanted to set a tone for the project by working with an artist who had been intimate with this side of the web early in her art practice."

Miao has certainly been exploring the aesthetics and issues of access in the internet in her work for some time. In 2007, for her undergrad thesis exhibition at the China Academy of Fine Arts near Shanghai, Miao made The Blind Spot, which meticulously documented every word blocked from Google.cn. The piece took Miao three months to make and is a brilliant DIY version of Jason Q. Ng's work documenting blocked words on the popular Chinese social network Sina Weibo. But Miao has no interest in only focusing on the limitations of the Chinese internet, believing there are much more fascinating things underway.

For instance, iPhone Garbage is an incredible convergence of Chinese manufacturing, social media, and ​Shanzhai (slang for pirated and fake goods) culture. A heavily remixed video shows a young entrepreneur aggressively promoting his custom smartphone while continually calling the iPhone "garbage." In Miao's work we see a pushback on Western aesthetics and corporations in favor of a more local flavor.

[image]

Miao suggests that the emerging narrative of Shanzhai might be replicated in net art in China. At first Shanzhai referred only to cheap knockoffs that rarely worked and were an annoying thorn in "legitimate" companies' sides. Now, as Joi Ito has found, Shanzhai merchants are beginning to build entirely unique hardware, offering entirely different capabilities than their Western smartphone counterparts. Miao believes too that Chinese net culture should embrace their differences and push them as far as possible.

In an int​erv​iew between Miao and Proksell, Miao said, "I think there is a bright future for Chinese internet art." Proksell and Miao have an uphill battle proving that to the West, but just as I had never seen many of Miao's influences, this culture is emerging with or without the West's acknowledgement or support. Whether that appreciation comes or not, Netizenet is off to an amazing start and I for one will definitely keep my eyes open for the next show and on Miao."]]></description>
<dc:subject>via:unthinkingly aesthetic newaesthetic internet web china online accretion beijing netart netizenet byob michelleproksell lanlovepoem yingmao newmedia benvalentine tumblr newvibe gifs memes poetry poems sinaweibo weibo wechat animation screenshots low-techaesthetic changzhai socialmedia joiito 2014 webrococo newhive</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:82cad95d2ecd/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:via:unthinkingly"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:aesthetic"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:newaesthetic"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:internet"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:web"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:china"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:online"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:accretion"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:beijing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:netart"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:netizenet"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:byob"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:michelleproksell"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:lanlovepoem"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:yingmao"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:newmedia"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:benvalentine"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tumblr"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:newvibe"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:gifs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:memes"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:poetry"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:poems"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sinaweibo"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:weibo"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:wechat"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:screenshots"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:low-techaesthetic"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:changzhai"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:socialmedia"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:joiito"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2014"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:webrococo"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:newhive"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.watchyulelog.com/#/">
    <title>Yule Log 2.015 - Happy Holidays</title>
    <dc:date>2015-12-12T23:07:04+00:00</dc:date>
    <link>http://www.watchyulelog.com/#/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>yulelog yulelogs fireplaces digital video via:robinsloan animation</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:5957c68a9486/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:yulelog"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:yulelogs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:fireplaces"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:digital"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:video"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:via:robinsloan"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.tumblr.com/explore/made-with-tumblr">
    <title>Meet the GIFs #made with tumblr | Tumblr</title>
    <dc:date>2015-11-18T06:35:16+00:00</dc:date>
    <link>https://www.tumblr.com/explore/made-with-tumblr</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>tumblr applications ios iphone ipad animatedgifs animation socialmedia</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:7c5191faf6de/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tumblr"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:applications"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ios"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:iphone"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ipad"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animatedgifs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:socialmedia"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.youtube.com/watch?v=52raDbtNpa4">
    <title>Hayao Miyazaki - The Essence of Humanity - YouTube</title>
    <dc:date>2015-10-16T18:32:25+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=52raDbtNpa4</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[broken, try https://www.youtube.com/watch?v=eTq_D5aFy-M ]

[via: http://kottke.org/15/10/what-makes-a-miyazaki-film-a-miyazaki-film 

"Lewis Bond takes a look at the work of master filmmaker Hayao Miyazaki and what sets him apart from other makers of animated movies, including his work’s realism and empathy."]]]></description>
<dc:subject>animation hayaomiyazaki humanism humanity filmmaking storytelling lewisbond empathy realism emotions reality unpredicatablity subtlety anime manga expressiveness expressions</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:52290b322a41/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:hayaomiyazaki"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:humanism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:humanity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:filmmaking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:storytelling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:lewisbond"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:empathy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:realism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:emotions"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:reality"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:unpredicatablity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:subtlety"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:anime"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:manga"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:expressiveness"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:expressions"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.mooooooving.com/">
    <title>Mooooooving — Animated GIFs by Guy Moorhouse</title>
    <dc:date>2015-10-06T03:51:12+00:00</dc:date>
    <link>http://www.mooooooving.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Mooooooving is a side project featuring animated gifs I make using Processing and Flash.

My one rule is that the animations must start and end on a blank white frame — I kind of like the idea that they come out of nothing and return to nothing.

Anyway, hope you like them."

[via: http://interconnected.org/home/2015/10/05/filtered ]]]></description>
<dc:subject>tumblrs motion geometry design animation guymoorhouse gifs processing flash coding</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:fdff985c8685/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tumblrs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:motion"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:geometry"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:guymoorhouse"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:gifs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:processing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flash"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:coding"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://fruitsoftheweb.tumblr.com/">
    <title>harvesting the fruits of the web</title>
    <dc:date>2015-09-27T05:37:29+00:00</dc:date>
    <link>http://fruitsoftheweb.tumblr.com/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>gifs web online internet tumblrs animatedgifs animation graphics</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:ccf4dd8aa4d8/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:gifs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:web"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:online"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:internet"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tumblrs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animatedgifs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:graphics"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://lego.gizmodo.com/making-stop-motion-lego-movies-is-easier-with-phonetic-1731687599">
    <title>Making Stop-Motion Lego Movies Is Easier With Phonetic Minifig Heads</title>
    <dc:date>2015-09-20T00:30:28+00:00</dc:date>
    <link>http://lego.gizmodo.com/making-stop-motion-lego-movies-is-easier-with-phonetic-1731687599</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>lego via:robinsloan phonetics language animation 2015</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:38a972eefab8/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:lego"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:via:robinsloan"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:phonetics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:language"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2015"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.modernpolaxis.com/">
    <title>MODERN POLAXIS</title>
    <dc:date>2015-08-13T16:51:12+00:00</dc:date>
    <link>http://www.modernpolaxis.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Modern Polaxis is a paranoid time traveller. Polaxis writes about all his strange experiences in his private journal. BUT, all his secret information, his paranoid delusions and conspiracy theories, he hides that away in a layer of Augmented Reality. Get the app and the book to hear and see the world as Polaxis sees it.

Story
Polaxis believes the world we live in is a holographic projection from another plane in the universe. This projection is known as Intafrag and is patrolled by Intafrag agents. The agents monitor glitches and pursue time travelling fugitives. Polaxis believes he is one of these fugitives. But, he can't quite prove any of this because he was pretty wasted the last time he time travelled. Polaxis must hurry, for IF the fabric of our reality is merely a flickering light, what happens when someone flicks the switch off?

Creators
Written, Illustrated and animated by: SUTU
Programming by: Lukasz Karluk
Music by: Lhasa Mencur"


[See also: 
https://itunes.apple.com/au/app/polaxis/id550870541
https://vimeo.com/108436404

"(┛`д´)┛ Sutu is an interactive comic artist and the creator of Modern Polaxis, Nawlz and Neomad. www.sutueatsflies.com www.modernpolaxis.com"
http://www.sutueatsflies.com/
https://instagram.com/sutueatsflies/
http://sutueatsflies.tumblr.com/ ]

[via: https://instagram.com/p/6UJOlHpjqb/ ]]]></description>
<dc:subject>comics sutu edg srg augmentedreality comicbooks applications ios animation ar</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:fe9878a0ad27/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:comics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sutu"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:edg"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:srg"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:augmentedreality"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:comicbooks"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:applications"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ios"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ar"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.slate.com/articles/life/the_history_of_american_slavery/2015/06/animated_interactive_of_the_history_of_the_atlantic_slave_trade.html">
    <title>Animated interactive of the history of the Atlantic slave trade.</title>
    <dc:date>2015-06-25T17:44:30+00:00</dc:date>
    <link>http://www.slate.com/articles/life/the_history_of_american_slavery/2015/06/animated_interactive_of_the_history_of_the_atlantic_slave_trade.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Usually, when we say “American slavery” or the “American slave trade,” we mean the American colonies or, later, the United States. But as we discussed in Episode 2 of Slate’s History of American Slavery Academy, relative to the entire slave trade, North America was a bit player. From the trade’s beginning in the 16th century to its conclusion in the 19th, slave merchants brought the vast majority of enslaved Africans to two places: the Caribbean and Brazil. Of the more than 10 million enslaved Africans to eventually reach the Western Hemisphere, just 388,747—less than 4 percent of the total—came to North America. This was dwarfed by the 1.3 million brought to Spanish Central America, the 4 million brought to British, French, Dutch, and Danish holdings in the Caribbean, and the 4.8 million brought to Brazil.

This interactive, designed and built by Slate’s Andrew Kahn, gives you a sense of the scale of the trans-Atlantic slave trade across time, as well as the flow of transport and eventual destinations. The dots—which represent individual slave ships—also correspond to the size of each voyage. The larger the dot, the more enslaved people on board. And if you pause the map and click on a dot, you’ll learn about the ship’s flag—was it British? Portuguese? French?—its origin point, its destination, and its history in the slave trade. The interactive animates more than 20,000 voyages cataloged in the Trans-Atlantic Slave Trade Database. (We excluded voyages for which there is incomplete or vague information in the database.) The graph at the bottom accumulates statistics based on the raw data used in the interactive and, again, only represents a portion of the actual slave trade—about one-half of the number of enslaved Africans who actually were transported away from the continent.

There are a few trends worth noting. As the first European states with a major presence in the New World, Portugal and Spain dominate the opening century of the trans-Atlantic slave trade, sending hundreds of thousands of enslaved people to their holdings in Central and South America and the Caribbean. The Portuguese role doesn’t wane and increases through the 17th, 18th, and 19th centuries, as Portugal brings millions of enslaved Africans to the Americas.

In the 1700s, however, Spanish transport diminishes and is replaced (and exceeded) by British, French, Dutch, and—by the end of the century—American activity. This hundred years—from approximately 1725 to 1825—is also the high-water mark of the slave trade, as Europeans send more than 7.2 million people to forced labor, disease, and death in the New World. For a time during this period, British transport even exceeds Portugal’s.

In the final decades of the trans-Atlantic slave trade, Portugal reclaims its status as the leading slavers, sending 1.3 million people to the Western Hemisphere, and mostly to Brazil. Spain also returns as a leading nation in the slave trade, sending 400,000 to the West. The rest of the European nations, by contrast, have largely ended their roles in the trade.

By the conclusion of the trans-Atlantic slave trade at the end of the 19th century, Europeans had enslaved and transported more than 12.5 million Africans. At least 2 million, historians estimate, didn’t survive the journey. —Jamelle Bouie"]]></description>
<dc:subject>maps mapping animation slavery slavetade history africa americas us brasil brazil caribbean southamerica northamerica centralamerica europe andrewkahn timelines</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:f0081ab8942b/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:maps"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:slavery"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:slavetade"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:africa"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:americas"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:us"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:brasil"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:brazil"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:caribbean"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:southamerica"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:northamerica"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:centralamerica"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:europe"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:andrewkahn"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:timelines"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://source.opennews.org/en-US/learning/power-loops/">
    <title>On Repeat - Learning - Source: An OpenNews project</title>
    <dc:date>2015-06-05T23:44:29+00:00</dc:date>
    <link>https://source.opennews.org/en-US/learning/power-loops/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["How to use loops to explain anything"

…

"GIFs in the Future

I am pretty confident that there are many more ways to use GIFs for journalism. And while I’m not sure what sorts of forms GIFs will take in the future, I urge you to think of ways to bring loops into the world of storytelling on the web in a purposeful, insightful, or just plain humorous way. Because who knows what sorts of impossible or magical or transformative experiences we can create—all with the power of loops."]]></description>
<dc:subject>gifs journalism video looping visual history animation animatedgifs eadweardmuybridge howthingswork explanation probability communication classideas repetition storytelling exposuretherapy giphy lenagroeger</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:6cdf0cfeea63/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:gifs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:journalism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:video"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:looping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:visual"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animatedgifs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:eadweardmuybridge"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:howthingswork"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:explanation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:probability"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:communication"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:classideas"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:repetition"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:storytelling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:exposuretherapy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:giphy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:lenagroeger"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.lindadong.com/blog/keynotemotiongraphic">
    <title>Keynote Motion Graphic Experiment — Linda Dong</title>
    <dc:date>2015-06-05T02:23:29+00:00</dc:date>
    <link>http://www.lindadong.com/blog/keynotemotiongraphic</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["[video: https://vimeo.com/129807396 ]

I was experimenting with Keynote's animation tools and decided for fun to make a short animated motion graphic to showcase what the app can do. It's pretty impressive how much Keynote can stand up to pro animation apps like After Effects and Motion and how fast it makes process. Honestly the most time consuming part of this was trying to get an adequate screen recording (video codecs blah).

[image]

I've always been a huge advocate of using Keynote for basic prototyping because there are a lot of great animation/drawing goodies hidden in this app and it's so easy to set a scene up. Same thing goes with motion graphics. Even if you're not planning on making your final animation in Keynote, it's an incredibly fast way to audition different effects and narratives.

The available animations may seem basic, but they can get you through most situations. I primarily used default Keynote transitions for this video and very rarely had to set up custom animation paths. Using the Magic Move feature and some clever masking can get you through most complex transitions. Here are some tips for making your own motion piece:

[images with captions]"]]></description>
<dc:subject>keynote animation howto lindadong 2015 motiongraphics classideas mac osx</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:f1108f11c3aa/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:keynote"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:howto"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:lindadong"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2015"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:motiongraphics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:classideas"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mac"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:osx"/>
</rdf:Bag></taxo:topics>
</item>
</rdf:RDF>