Marjan Farsad is an Iranian artist, musician and animator.
Marjan Farsad is an Iranian artist, musician and animator.
Lofi stopmotion collage (better on instagram, because it plays as a loop.)
Another one of Steve Cutts’ dystopian cartoons is HERE.
‘Like many a critical humanist before him, from Michel de Montaigne to Jonathan Swift, Calvino seems to wonder if our best intellectual efforts, even the sciences, fall subject to “the foibles and fancies of humans,” and to the askew narrative logic of folklore.’ I found this wonderful thing via Open Culture. I had to go and find the story on which the animation is based, and when I did, I had to share it with you, at new moon.
The Distance of the Moon
At one time, according to Sir George H. Darwin, the Moon was very close to the Earth. Then the tides gradually pushed her far away: the tides that the Moon herself causes in the Earth’s waters, where the Earth slowly loses energy.
How well I know! — old Qfwfq cried,– the rest of you can’t remember, but I can. We had her on top of us all the time, that enormous Moon: when she was full — nights as bright as day, but with a butter-colored light — it looked as if she were going to crush us; when she was new, she rolled around the sky like a black umbrella blown by the wind; and when she was waxing, she came forward with her horns so low she seemed about to stick into the peak of a promontory and get caught there. But the whole business of the Moon’s phases worked in a different way then: because the distances from the Sun were different, and the orbits, and the angle of something or other, I forget what; as for eclipses, with Earth and Moon stuck together the way they were, why, we had eclipses every minute: naturally, those two big monsters managed to put each other in the shade constantly, first one, then the other.
Orbit? Oh, elliptical, of course: for a while it would huddle against us and then it would take flight for a while. The tides, when the Moon swung closer, rose so high nobody could hold them back. There were nights when the Moon was full and very, very low, and the tide was so high that the Moon missed a ducking in the sea by a hair’s breadth; well, let’s say a few yards anyway. Climb up on the Moon? Of course we did. All you had to do was row out to it in a boat and, when you were underneath, prop a ladder against her and scramble up.
The spot where the Moon was lowest, as she went by, was off the Zinc Cliffs. We used to go out with those little rowboats they had in those days, round and flat, made of cork. They held quite a few of us: me, Captain Vhd Vhd, his wife, my deaf cousin, and sometimes little Xlthlx — she was twelve or so at that time. On those nights the water was very calm, so silvery it looked like mercury, and the fish in it, violet-colored, unable to resist the Moon’s attraction, rose to the surface, all of them, and so did the octopuses and the saffron medusas. There was always a flight of tiny creatures — little crabs, squid, and even some weeds, light and filmy, and coral plants — that broke from the sea and ended up on the Moon, hanging down from that lime-white ceiling, or else they stayed in midair, a phosphorescent swarm we had to drive off, waving banana leaves at them.
This is how we did the job: in the boat we had a ladder: one of us held it, another climbed to the top, and a third, at the oars, rowed until we were right under the Moon; that’s why there had to be so many of us (I only mentioned the main ones). The man at the top of the ladder, as the boat approached the Moon, would become scared and start shouting: “Stop! Stop! I’m going to bang my head!” That was the impression you had, seeing her on top of you, immense, and all rough with sharp spikes and jagged, saw-tooth edges. It may be different now, but then the Moon, or rather the bottom, the underbelly of the Moon, the part that passed closest to the Earth and almost scraped it, was covered with a crust of sharp scales. It had come to resemble the belly of a fish, and the smell too, as I recall, if not downright fishy, was faintly similar, like smoked salmon.
In reality, from the top of the ladder, standing erect on the last rung, you could just touch the Moon if you held your arms up. We had taken the measurements carefully (we didn’t yet suspect that she was moving away from us); the only thing you had to be very careful about was where you put your hands. I always chose a scale that seemed fast (we climbed up in groups of five or six at a time), then I would cling first with one hand, then with both, and immediately I would feel ladder and boat drifting away from below me, and the motion of the Moon would tear me from the Earth’s attraction. Yes, the Moon was so strong that she pulled you up; you realized this the moment you passed from one to the other: you had to swing up abruptly, with a kind of somersault, grabbing the scales, throwing your legs over your head, until your feet were on the Moon’s surface. Seen from the Earth, you looked as if you were hanging there with your head down, but for you, it was the normal position, and the only odd thing was that when you raised your eyes you saw the sea above you, glistening, with the boat and the others upside down, hanging like a bunch of grapes from the vine.
My cousin, the Deaf One, showed a special talent for making those leaps. His clumsy hands, as soon as they touched the lunar surface (he was always the first to jump up from the ladder), suddenly became deft and sensitive. They found immediately the spot where he could hoist himself up; in fact just the pressure of his palms seemed enough to make him stick to the satellite’s crust. Once I even thought I saw the Moon come toward him, as he held out his hands.
He was just as dextrous in coming back down to Earth, an operation still more difficult. For us, it consisted in jumping, as high as we could, our arms upraised (seen from the Moon, that is, because seen from the Earth it looked more like a dive, or like swimming downwards, arms at our sides), like jumping up from the Earth in other words, only now we were without the ladder, because there was nothing to prop it against on the Moon. But instead of jumping with his arms out, my cousin bent toward the Moon’s surface, his head down as if for a somersault, then made a leap, pushing with his hands. From the boat we watched him, erect in the air as if he were supporting the Moon’s enormous ball and were tossing it, striking it with his palms; then, when his legs came within reach, we managed to grab his ankles and pull him down on board.
Now, you will ask me what in the world we went up on the Moon for; I’ll explain it to you. We went to collect the milk, with a big spoon and a bucket. Moon-milk was very thick, like a kind of cream cheese. It formed in the crevices between one scale and the next, through the fermentation of various bodies and substances of terrestrial origin which had flown up from the prairies and forests and lakes, as the Moon sailed over them. It was composed chiefly of vegetal juices, tadpoles, bitumen, lentils, honey, starch crystals, sturgeon eggs, molds, pollens, gelatinous matter, worms, resins, pepper, mineral salts, combustion residue. You had only to dip the spoon under the scales that covered the Moon’s scabby terrain, and you brought it out filled with that precious muck. Not in the pure state, obviously; there was a lot of refuse. In the fermentation (which took place as the Moon passed over the expanses of hot air above the deserts) not all the bodies melted; some remained stuck in it: fingernails and cartilage, bolts, sea horses, nuts and peduncles, shards of crockery, fishhooks, at times even a comb. So this paste, after it was collected, had to be refined, filtered. But that wasn’t the difficulty: the hard part was transporting it down to the Earth. This is how we did it: we hurled each spoonful into the air with both hands, using the spoon as a catapult. The cheese flew, and if we had thrown it hard enough, it stuck to the ceiling, I mean the surface of the sea. Once there, it floated, and it was easy enough to pull it into the boat. In this operation, too, my deaf cousin displayed a special gift; he had strength and a good aim; with a single, sharp throw, he could send the cheese straight into a bucket we held up to him from the boat. As for me, I occasionally misfired; the contents of the spoon would fail to overcome the Moon’s attraction and they would fall back into my eye.
I still haven’t told you everything, about the things my cousin was good at. That job of extracting lunar milk from the Moon’s scales was child’s play to him: instead of the spoon, at times he had only to thrust his bare hand under the scales, or even one finger. He didn’t proceed in any orderly way, but went to isolated places, jumping from one to the other, as if he were playing tricks on the Moon, surprising her, or perhaps tickling her. And wherever he put his hand, the milk spurted out as if from a nanny goat’s teats. So the rest of us had only to follow him and collect with our spoons the substance that he was pressing out, first here, then there, but always as if by chance, since the Deaf One’s movements seemed to have no clear, practical sense.
There were places, for example, that he touched merely for the fun of touching them: gaps between two scales, naked and tender folds of lunar flesh. At times my cousin pressed not only his fingers but — in a carefully gauged leap — his big toe (he climbed onto the Moon barefoot) and this seemed to be the height of amusement for him, if we could judge by the chirping sounds that came from his throat as he went on leaping. The soil of the Moon was not uniformly scaly, but revealed irregular bare patches of pale, slippery clay.
These soft areas inspired the Deaf One to turn somersaults or to fly almost like a bird, as if he wanted to impress his whole body into the Moon’s pulp. As he ventured farther in this way, we lost sight of him at one point. On the Moon there were vast areas we had never had any reason or curiosity to explore, and that was where my cousin vanished; I had suspected that all those somersaults and nudges he indulged in before our eyes were only a preparation, a prelude to something secret meant to take place in the hidden zones.
We fell into a special mood on those nights off the Zinc Cliffs: gay, but with a touch of suspense, as if inside our skulls, instead of the brain, we felt a fish, floating, attracted by the Moon. And so we navigated, playing and singing. The Captain’s wife played the harp; she had very long arms, silvery as eels on those nights, and armpits as dark and mysterious as sea urchins; and the sound of the harp was sweet and piercing, so sweet and piercing it was almost unbearable, and we were forced to let out long cries, not so much to accompany the music as to protect our hearing from it. Continue reading
Estonian animated film by Rein Raamat, Tallinnfilm, 1983. The film brings to life in one nightmarish vision three detailed engravings from the early 1930s created by Estonian artist Eduard Viiralt: “The Preacher”, “Cabaret”, and “Hell”.
1970s psychedelic horror animation out of Japan. Pure, filthy, abject escapism, with a fantastical synth soundtrack.
Why had I never heard of this?! In 1946 Disney and Dalí conceived this animated story of Chronos, the personification of time who falls in love with a mortal.
Dalí described the film as “a magical display of the problem of life in the labyrinth of time”. Disney called it “a simple story about a young girl in search of true love.”
Read more about the collaboration and realisation of this beautiful little film HERE.
The song is performed by Dora Luz.
Off The Lost Colony, my favourite Swedish record picked up while living there last year.
Produced By: Monkey Frog Media
Music By: The Real Tuesday Weld
Published by: Six Degrees Records & Crammed Disks
Animator Nina Paley, she of the wonderful public domain film Sita Sings the Blues (WATCH IT, please, if you haven’t yet!), also made another short cartoon a while back*, this one caricaturing the ongoing conflict in the Middle East.
So, who’s killing who? Nina has provided a handy guide to the various historical groups HERE.
*Please do note that this was made in 2012, before the most recent turn of events.
Beautiful video by Alexander Petrov set to this anthem, off Burial’s brand new EP, Rival Dealer, out now on Hyperdub. I looked Petrov up because his animation style reminded me of some of the work of another Russian master, Yuri Norstein – and, indeed, he was one of Norstein’s protégés at the Advanced School for Screenwriters and Directors in Moscow.
UPDATE 17/12/13: Looks like the person who put this lovely video together has been forced to take it down for copyright reasons. That’s just wrong. It was truly an inspired combination, and I don’t know how it would have hurt the sales of either the song or the animation. Anyway. You can stream the track without the video HERE.
A rare, candid message from the usually silent and mysterious William Bevan, a.k.a. Burial, on Rival Dealer (via Mary Anne Hobbs’ BBC radio show):
I put my heart into the new EP; I hope someone likes it. I wanted the tunes to be anti-bullying tunes that could maybe help someone to believe in themselves, to not be afraid, and to not give up, and to know that someone out there cares and is looking out for them. So it’s like an angel’s spell to protect them against the unkind people, the dark times, and the self-doubt.
This is so trippy.
©2013 Anthony Cerniello
“I attempted to create a person in order to emulate the aging process. The idea was that something is happening but you can’t see it but you can feel it, like aging itself.”
Find out more about the creative process HERE.
Animation by Steve Cutts, looking at humanity’s relationship with the natural world.
Music: “In the Hall of the Mountain King” by Edvard Grieg.
Trained as a sculptor as well as an animator, Piotr Dumala calls his innovative stop-motion technique in which an image is scratched into painted plaster, then painted over and the next image scratched on top “destructive animation”. He devised the method while studying art conservation at the Warsaw Academy of Fine Arts.
Crime and Punishment (Zbrodnia i Kara), Dumala’s expressionist half-hour long Dostoevsky adaptation, is a succession of shadowy, minimalist tableaux that emerge slowly from darkness and return to it. Stripping the Russian masterwork down to two scenes — the murder and Raskolnikov’s meeting of Sonia — Dumala interprets the novel’s themes with chiaroscuro intensity, choosing to highlight just a few strands of the story:
“It was not my aim to copy the book. I was really close to the book. I took one level of the book. It’s not possible to show everything from this book… This is about love and how obsession can destroy love. In our life we are under two opposite influences to be good or bad and to love or hate.”
In the worlds Dumala sketches, the lines between light and darkness are stark, but also shifting and mutable.
Read more about the background to Dumala and this film in Chris Robinson’s article for Animation World Magazine, HERE.
“Face Deep is an experimental, animated (stop motion) film that allows for a free-flow of thought and exploration of self within an otherwise overly produced, technical and character driven practice. This sequentially photographed film looks at animator as lead character, allowing internal personalities/burning stories to emerge on skin surface whilst a sense of play within the medium is explored.
By listening to the songs of local low-fi Cape Town band Tape Hiss and Sparkle on loop, the raw and honest lyrics/sounds from Simon Tamblyn lead the animator deeper into herself to explore her own raw and honest inner spaces. The film allows one orator to evoke new stories in another orator, and for their different methods of story telling (sound/visual) to co-exist together; sometimes it is another person’s truth that helps us explore our own.”
— Meghan Judge, Simon Tamblyn
More of Meghan’s work is HERE.
Astoundingly beautiful animation masterpiece by Yuri Norstein (USSR,1979, 28 min).
Tale of Tales, like Tarkovsky’s Mirror, attempts to structure itself like a human memory. Memories are not recalled in neat chronological order; instead, they are recalled by the association of one thing with another, which means that any attempt to put memory on film cannot be told like a conventional narrative. The film is thus made up of a series of related sequences whose scenes are interspersed between each other. One of the primary themes involves war, with particular emphasis on the enormous losses the Soviet Union suffered on the Eastern Front during World War II. Several recurring characters and their interactions make up a large part of the film, such as the poet, the little girl and the bull, the little boy and the crows, the dancers and the soldiers, and especially the little grey wolf (Russian: се́ренький волчо́к, syeryenkiy volchok). Another symbol connecting nearly all of these different themes are green apples (which may symbolise life, hope, or potential).
Yuriy Norshteyn wrote in Iskusstvo Kino magazine that the film is “about simple concepts that give you the strength to live.”
A film by Jenny Triggs, based on the novel of the same name by Samuel Beckett. This film animates body parts, chess pieces and mechnical motifs as life’s conveyor belt threatens to grind to a halt, but never does.
Contact email@example.com for further information.
Princess Mononoke is a period drama set in the late Muromachi period of Japan but with numerous fantastical elements. The story concentrates on involvement of the outsider Ashitaka in the struggle between the supernatural guardians of a forest and the humans of the Iron Town who consume its resources. There can be no clear victory, and the hope is that relationship between humans and nature can be cyclical.
“Mononoke” (物の怪) is not a name, but a general term in the Japanese language for a spirit or monster. The film was first released in Japan on July 12, 1997, and in the United States on October 29, 1999.
Cvetik Semicvetik (Flower of Seven Colours) is a beautiful Soviet children’s animation from 1948, based on a beloved folk tale about a little girl who receives a magic flower with seven free wishes from an old crone. None of her wishes leads to happiness, until the last wish, which she doesn’t use for herself, but for someone else. By making someone else happy, she is made happy too.
There are many different illustrated versions out there, but perhaps the most trippy one comes from the mind of Russian artist Benjamin Losin. Losin apparently illustrated two different versions of this book.
Music: Chinese Man – “I’ve Got That Tune” from The Groove Sessions Vol.1 (2007)
Director: Fred&Annabelle – Ben Le Coq
Label: Chinese Man Records