May 21, 2012
Adventure Time is an American animated television series created by Pendleton Ward (a former writer and storyboard artist of ‘The Marvelous Misadventures of Flapjack’) and produced by Frederator Studios for Cartoon Network. The series follows the adventures of Finn, a 14-year old boy whose best friend is Jake, a dog with magical powers such as growing and shrinking or stretching into many shapes. Finn and Jake live in the post-apocalyptic Land of Ooo.Ward describes Finn as a ‘fiery little kid with strong morals,’ while Jake is based on Bill Murray’s character in the movie ‘Meatballs.’ The series is based on a short produced for Frederator’s Nickelodeon animation incubator series ‘Random! Cartoons.’ After the short became a viral hit on the Internet, Cartoon Network picked it up for a full-length series that premiered in 2010.
According to Ward, the show’s style was influenced by his time at CalArts and his work as a storyboard artist on ‘The Marvelous Misadventures of Flapjack.’ He tries to include ‘beautiful’ moments like those in Hayao Miyazaki’s ‘My Neighbor Totoro’ and some subversive humor, inspired by series like ‘The Simpsons’ and ‘Pee-wee’s Playhouse.’ Executive producer Fred Seibert compares the show’s animation style to that of ‘Felix the Cat’ and the Max Fleischer cartoons (e.g. ‘Betty Boop,’ ‘Popeye’) but says its world is also equally inspired by ‘Dungeons and Dragons’ and video games. Ward intends the show’s world to have a certain physical logic instead of ‘cartoony slapstick’ — even though magic exists in the story, the show’s writers try to create an internal consistency in how the characters interact with the world.
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May 21, 2012
The drop is the point in a track where a switch of rhythm or bass line occurs and usually follows a recognizable build section and break. In Hip-Hop and electronic music, the reintroduction of the full bass line and drums is known as the drop. In Dubstep, the drop involves a full bass line and commonly a ‘wobble’ bass or ‘vowel’ bass accompanied by a strong shuffling beat.
In Metalcore sub-genres, bass drops are often utilized under the first chord of a breakdown, to emphasize the breakdown and give it a pronounced presence. In drum and bass, DJs sometimes perform what is called the ‘double drop’: beat matching two tracks in a way that the drop, and hence the respective climaxes, occur at the same time.
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May 21, 2012
Magic realism is an aesthetic style or genre of fiction in which magical elements blend with the real world. The story explains these magical elements as real occurrences, presented in a straightforward manner that places the ‘real’ and the ‘fantastic’ in the same stream of thought. One example, is when a character in the story continues to be alive beyond the normal length of life and this is subtly depicted by the character being present throughout many generations.
On the surface the story has no clear magical attributes and everything is conveyed in a real setting, but such a character breaks the rules of our real world. The author may give precise details of the real world such as the date of birth of a reference character and the army recruitment age, but such facts help to define an age for the fantastic character of the story that would turn out to be an abnormal occurrence like someone living for two hundred years.
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May 21, 2012
Jorge Luis Borges [bawr-hes] (1899 – 1986) was an Argentine writer whose work embraces the ‘character of unreality in all literature’; his most famous books, ‘Ficciones’ (1944) and ‘The Aleph’ (1949), are compilations of short stories interconnected by common themes such as dreams, labyrinths, libraries, mirrors, animals, fictional writers, religion, and God.
His works have contributed to the genre of science fiction and magic realism (a reaction against the realism/naturalism of the nineteenth century). In fact, critic Angel Flores, the first to use the term, set the beginning of this movement with Borges’s ‘Historia universal de la infamia’ (‘A Universal History of Infamy’) (1935). Scholars have also suggested that Borges’s progressive blindness helped him to create innovative literary symbols through imagination. His late poems dialogue with such cultural figures as Spinoza, Camões, and Virgil.
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May 16, 2012
Verner Panton (1926 – 1998) is considered one of Denmark’s most influential 20th-century furniture and interior designers. During his career, he created innovative, funky and futuristic designs in a variety of materials, especially plastics, and in vibrant and exotic colors.
His style was very ‘1960s’ but regained popularity at the end of the 20th century; as of 2004, Panton’s most well-known furniture models are still in production (at Vitra, among others).
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May 16, 2012
Martin Sharp (b. 1942) is an Australian artist, underground cartoonist, songwriter and film-maker. His famous psychedelic posters of Bob Dylan, Donovan, and others, rank as classics of the genre, alongside the work of Rick Griffin, Hapshash and the Coloured Coat, and Milton Glaser.
His covers, cartoons and illustrations were a central feature of ‘Oz’ magazine, both in Australia and in London. Martin co-wrote one of Cream’s most famous songs, ‘Tales of Brave Ulysses,’ created the cover art for Cream’s ‘Disraeli Gears’ and ‘Wheels of Fire’ albums, and in the 1970s, he became a champion of singer Tiny Tim, and of Sydney’s embattled Luna Park.
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May 15, 2012
Acid Western is a sub-genre of the Western film that emerged in the 1960s and 1970s that combines the metaphorical ambitions of top-shelf Westerns, like ‘Shane’ and ‘The Searchers,’ with the excesses of the Spaghetti Westerns and the outlook of the counter-culture. Acid Westerns subvert many of the conventions of earlier Westerns to ‘conjure up a crazed version of autodestructive white America at its most solipsistic, hankering after its own lost origins.’
The term ‘Acid Western’ was coined in 1996 by Jonathan Rosenbaum in a review of Jim Jarmusch’s film, ‘Dead Man.’ Rosenbaum expanded upon the idea in a subsequent interview with Jarmusch for ‘Cineaste’ and later in the book ‘Dead Man’ from BFI Modern Classics. In the book, Rosenbaum illuminates several aspects of this re-revisionist Western: from Neil Young’s haunting score to the role of tobacco, to Johnny Depp’s performance, to the film’s place in the acid-Western genre.
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May 15, 2012
Panic Movement (‘Mouvement panique’) was a collective formed by Fernando Arrabal, Alejandro Jodorowsky, and Roland Topor in Paris in 1962. Inspired by and named after Pan (Greek god of the wild), and influenced by Luis Buñuel and Antonin Artaud’s ‘Theatre of Cruelty,’ the group concentrated on chaotic and surreal performance art, as a response to surrealism becoming petite bourgeoisie.
The movement’s violent theatrical events were designed to be shocking, and to release destructive energies in search of peace and beauty. One four-hour performance known as ‘Sacramental Melodrama’ was staged in 1965 at the Paris Festival of Free Expression. The ‘happening’ starred Jodorowsky dressed in motorcyclist leather and featured him slitting the throats of two geese, taping two snakes to his chest and having himself stripped and whipped. Other scenes included ‘naked women covered in honey, a crucified chicken, the staged murder of a rabbi, a giant vagina, the throwing of live turtles into the audience, and canned apricots.’
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May 15, 2012
Alejandro [ali-hahn-dro] Jodorowsky [ho-dor-row-ski] (b. 1929) is a Chilean-French filmmaker and spiritual guru. Best known for his avant-garde films, he has been ‘venerated by cult cinema enthusiasts’ for his work which ‘is filled with violently surreal images and a hybrid blend of mysticism and religious provocation.’
Dropping out of college, he became involved in theater and in particular mime, working as a clown before founding his own theater troupe in 1947. After moving to Paris in the early 1950s he turned to cinema, directing the short film ‘Les têtes interverties’ in 1957. From 1960 he divided his time between Paris and Mexico City, in the former becoming a founding member of the anarchistic avant-garde Panic Movement of performance artists.
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May 14, 2012
Tattoos are commonly used among criminals to show gang membership and record the wearer’s personal history—such as his or her skills, specialties, accomplishments, and convictions. They are also used as a means of personal expression. Certain designs have developed recognized coded meanings. The code systems can be quite complex and because of the nature of what they encode, the tattoos are not widely recognized.
Tattooing is forbidden in most prisons. It is therefore done in secret, with makeshift equipment. For example, tattoos done in a Russian prison often have a distinct bluish color (due to being made with ink from a ballpoint pen) and usually appear somewhat blurred because of the lack of instruments to draw fine lines. The ink is often created from burning the heel of a shoe and mixing the soot with urine (for sterilization), and injected into the skin utilizing a sharpened guitar string attached to an electric shaver.
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May 14, 2012
Prison tattoos often signal gang membership, form a code, or have hidden meanings. However, due to the lack of proper equipment and sterile environments in prison, the practice poses health risks.
Tattooing in prison is illegal in the U.S., but inmates find ways to create their own tattooing devices out of their belongings. Improvised equipment is assembled from mechanical pencils, magnets, radio transistors, staples, paper clips, guitar strings, and other common items.
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May 14, 2012
Irezumi [ee-reh-zoo-mee] (literally ‘insert ink’) refers to the insertion of ink under the skin to leave a permanent, usually decorative mark; a form of Japanese tattooing. Tattooing for spiritual and decorative purposes in Japan is thought to extend back to the paleolithic period (approximately 10,000 BCE). Some scholars have suggested that the distinctive cord-marked patterns observed on the faces and bodies of figures dated to that period represent tattoos, but this claim is controversial. There are similarities, however, between such markings and the tattoo traditions observed in other contemporaneous cultures.
In the following Yayoi period (c. 300 BCE–300) tattoo designs were observed and remarked upon by Chinese visitors. Such designs were thought to have spiritual significance as well as functioning as a status symbol. Starting in the Kofun period (300–600) tattoos began to assume negative connotations. Instead of being used for ritual or status purposes, tattooed marks began to be placed on criminals as a punishment (this was mirrored in ancient Rome, where slaves were known to have been tattooed with mottoes such as ‘I am a slave who has run away from his master’). The Ainu people, the indigenous people of Japan, are known to have used tattoos for decorative and social purposes, but there is no known relation to the development of irezumi.
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