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George Orwell’s Animal Farm Was Turned Into An Animation Film In 1954

| Film and animation | January 14, 2012

George Orwell’s anti-totalitarian novella, Animal Farm, almost never saw the light of day. The manuscript barely survived the Nazi bombing of London during World War II, and then T.S. Eliot (an important editor at Faber & Faber) and other publishers rejected the book, partly for political reasons. Eventually Animal Farm came out in print in 1945 and the now-famous text became an animated film in 1954.

Produced by Halas and Batchelor (and funded by the CIA, although the animators didn’t know it), Animal Farm was the first British animated feature released worldwide, and the animation style — dubbed “Disney-turned-serious” — received critical praise. The film runs 80 minutes, and you can watch it here.

Orwell’s 1984 hardly needs an introduction (although Christopher Hitchens, author of Why Orwell Matters, does a nice job contextualizing the novel in this radio appearance).

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An Uplifting Musical Surprise for Dave Brubeck in Moscow (1997)

| Everything about music | January 14, 2012

December 2, 1997. Exactly ten years after his first visit to Moscow, jazz legend Dave Brubeck returned to perform before the faculty and students of the Moscow Conservatory. During his concert, an audience member asked him to improvise on the old Russian sea shanty “Ej, Uhnem.” About two minutes into the improvisation, a young violinist rose from his seat and started to play along. You just have to love Dave’s surprised look at 2:09.

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Why The Hell Would You Bring That Car To Belgium?

| Short fiction and poetry | January 13, 2012

skills exchange stories

We weren’t your typical ugly Americans. No, no. We were unique, over-the-top, nightmare ugly Americans — we had thoughts and opinions and curiosity and wanted to actually interact with foreign cultures! Most Americans living overseas just hide on or near the military base, with the occasional excursion to tourist areas, McDonald’s, and popular ex-pat hangouts, possibly catching the latest American blockbuster with subtitles at a local movie theater. And that’s just how most locals like it. It’s not that they don’t want us to engage their culture — they just don’t want to engage us. But we ate in neighborhood restaurants, went to French films and Belgian festivals, took in concerts and cathedrals — and everywhere we went we left the distinctive Strand stamp. It’s not going too far to say we terrorized Belgium, and while on vacation, much of France, too.

The Strand calling card was our car, a 1969 Checker Marathon, just like the old Manhattan taxi-cabs. Only ours was silver. Through various arcane calculations my father had determined that the most cost-efficient solution to our transportation needs in Belgium was to ship our car over from the States, and then ship it back at the end of our stay.

Maybe he used some sort of backward government math, or the tortured dad-logic that arises when a man decides that if he must assume sole and final responsibility for all the cares of his family, then it is his prerogative to make for that family plans whose meaning only his mind can penetrate. Maybe it was because Dad grew up in the Depression and some of his earliest memories were of hobos coming to the back porch to ask his mother for soup, and for people who grew up then, strict economy is a matter of principle. Everything was a matter of principle with Dad.

So principle dictated that we should lumber the lanes of Lorraine in a vehicle that was a sleek 3763 lbs unloaded, 5 ft 2in tall, 6ft 4in wide, and 17 ft long, with a wheelbase that was wider than the standard freeway lane in Europe, and a 300 horsepower V8. The Checker dominated the road. We shared streets with Peugots, Volkswagens, Fiats, Renaults, Citroen Deux-Chevaux, and a variety of odd little three-wheeled city cars. We didn’t want to play chicken everyday with cars that were 10 times less massive and 30 times less powerful than ours, but what could we do? The Belgians simply hadn’t built their roads to fit our car.

The neighbors immediately nicknamed the Checker, “La Tanque.” Given how sensitive Belgians are about surprise tank appearances, this felt like something more than good-natured ribbing. But we took La Tanque everywhere. Who needs to hide at the military base when you’re driving your own Tanque?

Dad would find some buried treasure of a restaurant in his beloved Michelin guide, and off we’d go. But the peculiar mixture of modern planning and medieval happenstance that gave birth to the system of roads in Europe is incomprehensible to the American mind. It always took us three hours to get to any new town. Given Belgium’s size, driving three hours in any direction from our home should have put us deep in another country or the Atlantic Ocean.

Once we actually got into the town, there was always some crucial turn we couldn’t make, down a narrow, twisting, cobblestone alley flanked by ancient, leaning, stone houses, between which we simply could not fit. And the next thing we knew, we’d be in the red light district. Every time. I’d seen more prostitutes by the time I was 10 than Toulouse-Lautrec.

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An Interview With Raoul Vaneigem

| Culture and politics | January 13, 2012

Situationist thinking defined the 1968 Paris Spring; a spontaneous uprising that nearly toppled the French government and threatened to erupt into a global insurrection against capitalism from within. Protesting alienation, inequality and society of the spectacle, slogans like “Boredom is counterrevolutionary” and “Run, comrade, the old world is behind you!” filled the mouths and songs of millions who at their core, were in open revolt to the demands of consumer society. Raoul Vaneigem was a member of the Situationist International from 1961 to 1970 and the author of more than thirty books and a key thinker in the movement. He was in the streets in 1968 and offers his thoughts to interviewer Siné Mensuel on then and now.

Siné Mensuel: Can you give a brief definition of the situationists?

Raoul Vaneigem: No. The living is irreducible to definitions. The vitality and radicality of the situationists continues to develop behind the scenes of a spectacle that has every reason to keep quiet and conceal itself. On the other hand, the ideological recuperation that this radicality has been subjected to has experienced a superficial surge, but its interests have nothing in common with mine.

Siné Mensuel: What did the situs mean when they said that situationism doesn’t exist?

Raoul Vaneigem: The situationists were always hostile to ideologies, and to speak of situationism would be to place an ideology where there isn’t one.

Siné Mensuel: Why did you break with the Situationist International in 1970? In hindsight, what do you think of Guy Debord?

Raoul Vaneigem: I broke [off] because the radicality that had been the priority in May 1968 was in the process of dissolving into bureaucratic behavior. Each member had chosen to pursue his route alone or to abandon the project of a self-managed society. Perhaps Debord and I felt more complicity than affection, but the split doesn’t matter! What is sincerely lived is never lost. The rest is only the dregs of futility.

Siné Mensuel: What’s your take on the Movement of the Indignant?

Raoul Vaneigem: It is a public-safety reaction against the resignation and fear that provide the tyranny of capitalism with its best supports. But indignation isn’t enough. It is less a matter of struggling against a system that is collapsing than in favor of new social structures founded upon direct democracy. While the State is destroying public services, only a self-managing movement can take charge of the well-being of everyone.

Siné Mensuel: Is utopianism still on the agenda?

Raoul Vaneigem: Utopianism? From now on, that’s the hell of the past. We have always been constrained to live in a place that is everywhere but, in that place, we are nowhere. That’s the reality of our exile. It has been imposed on us for thousands of years by an economy founded on the exploitation of man by man. Humanist ideology has made us believe that we are human while we remain, for the most part, reduced to the state of beasts whose predatory instincts are satisfied by the will to power and appropriation. Our “vale of tears” was considered the best possible world. Could we have invented a way of living that is more phantasmagorical and absurd than the all-powerful cruelty of the gods, the caste of priests and princes ruling enslaved peoples, the obligation to work that is supposed to guarantee joy and substantiate the Stalinist paradise, the millenarianist Third Reich, the Maoist Cultural Revolution, the society of well-being (the Welfare state), the totalitarianism of money beyond which there is neither individual nor social safety, [and] finally the idea that survival is everything and life is nothing? Against that utopia, which passes for reality, is opposed the only reality that matters: what we try to live by assuring our happiness and that of everyone else. Thenceforth, we no longer are in a utopia, but at the heart of a mutation, a change of civilization that takes shape under our eyes and that many people, blinded by the dominant obscurantism, are incapable of discerning. Because the quest for profit makes men into predatory, insensitive and stupid brutes.

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Tim Burton’s The World Of Stainboy: The Complete Animated Series

| Film and animation | January 12, 2012

tim burton animation

In his 1997 book of drawings and verse, The Melancholy Death of Oyster Boy & Other Stories, Tim Burton imagines a bizarre menagerie of misfits with names like Toxic Boy, Junk Girl, the Pin Cushion Queen and the Boy with Nails in his Eyes.

“Inspired by such childhood heroes as Dr. Seuss and Roald Dahl,” writes James Ryan in the New York Times, “Mr. Burton’s slim volume exquisitely conveys the pain of an adolescent outsider. Like his movies, the work manages to be both childlike and sophisticated, blending the innocent with the macabre.”

One of those adolescent outsiders is Stain Boy, a strange kind of superhero:

He can’t fly around tall buildings,
or outrun a speeding train,
the only talent he seems to have
is to leave a nasty stain.

Sometimes I know it bothers him,
that he can’t run or swim or fly,
and because of this one ability,
his dry cleaning bill is sky-high.

In 2000, Burton extended Stain Boy’s adventures (and compressed his name into one word) with The World of Stainboy, a series of short animations commissioned for the Internet by Shockwave.com.:

“For some stories you have to wait for the right medium,” Burton said at the time. “I think (the Internet’s) the perfect forum to tell a sad little story like this one. Stainboy is a character that doesn’t do much. He’s just perfect for four-minute animations.”

Burton created a series of sketches, watercolors and pastel-accented gray-on-gray washes and brought them, along with a script and storyboards, to Flinch Studio for translation into Macromedia Flash animation. Twenty-six episodes were planned, but only six were completed. “Stainboy was an experiment in developing revenue streams for the Web,” writes Alison McMahan in The Films of Tim Burton: Animating Live Action in Contemporary Hollywood, “but it did not succeed, at least not financially.”

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Fellini’s Fantastic TV Commercials

| Film and animation | January 12, 2012

Today we present a series of lyrical television advertisements made by the great Italian filmmaker Federico Fellini during the final decade of his life.

In 1984, when he was 64 years old, Fellini agreed to make a miniature film featuring Campari, the famous Italian apéritif. The result, Oh, che bel paesaggio! (“Oh, what a beautiful landscape!”), shown above, features a man and a woman seated across from one another on a long-distance train. The man (played by Victor Poletti) smiles, but the woman (Silvia Dionisio) averts her eyes, staring sullenly out the window and picking up a remote control to switch the scenery. She grows increasingly exasperated as a sequence of desert and medieval landscapes passes by. Still smiling, the man takes the remote control, clicks it, and the beautiful Campo di Miracoli (“Field of Miracles”) of Pisa appears in the window, embellished by a towering bottle of Campari.

“In just one minute,” writes Tullio Kezich in Federico Fellini: His Life and Work, “Fellini gives us a chapter of the story of the battle between men and women, and makes reference to the neurosis of TV, insinuates that we’re disparaging the miraculous gifts of nature and history, and offers the hope that there might be a screen that will bring the joy back. The little tale is as quick as a train and has a remarkably light touch.”

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Oranges And Vodka

| Short fiction and poetry | January 12, 2012

irish short story from our skills exchange

It wasn’t an exceptional day. It was just one of those days that if you looked up the patch of visible sky was off-white. One of those days that, when you showered you never seemed to dry. One of those days when the only place to be was inside; doors and windows hermetically sealed and the air conditioning up full. It was a day like that that Mike Morann found himself in mid-town, 59th and Lex to be exact; an accident had jammed the place. Horns blared, cab drivers screamed, it was humid and nothing had moved for nearly two hours. Mike Morann thought, Manhattan was always hot, thirteen million people nuts to butts, of course its going to get hot.

Mike was getting it in the neck from Fat Howey in the Depot. Fuckin eye-tie. But if Mike had listened to Howey instead of rolling a spliff. He’d have headed downtown and dropped the load on Bleekers and he’d be washin out back at base now. But he was rolling a spliff and thinking how bad could it be anyway and turned onto fifty-fifth and was now caught in the backup on Lex and was heading uptown with a load that was worthless. It was sixty Newton stuff and had gone hard in the mid-town traffic.

So hey, he took a wrong turn. What’s a guy to do? Can a guy not screw up once in a while? Can a guy not spliff up once in a while? Hell, wasn’t it only his first day after all. What does that guinea wop expect?
Mike had two choices, one, he could wait it out and get back to the depot. It was quite relaxing when he turned off the radio and Howey, just sitting there, on his perch. High up above everyone else. But tomorrow he’d have the job of jackhamrin the shit out. The worse frickin job on the planet. He contemplated this and lit up another one.
Or, he could abandon ship. Just bail. Just leave this big yellow mother sitting right here, right in the middle of Lex. Take his lunch, his five Quaaludes, leave the empty bud cans, climb down, swing that big heavy door shut and be back in Mulligans suckin on a cold one in time to catch the whole thing on channel five. Then Howey‘d have a real fuckkin kiniption. He’d like to hear him then, phoney cocksucker. He’d have to get some of the other drivers, put them on overtime, come in, pick it up and put a night crew on hackin the shit out.

And that’s just what Mike did. Left that big Yellow mother blockin up Lexington and got the number 7 at 59th street to Sunnyside and got off at fortyninth street, crossed the Boulevard and straight into Mulligans. None of the guys were in yet and Jimmy Buckley from the county Cork was sitting on a bar stool outside the counter flickin channels.

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The Page Turner: A New Rube Goldberg Machine from Joseph Herscher

| Art and design | January 11, 2012

The Page Turner: A New Rube Goldberg Machine from Joseph Herscher kinetic

The Page Turner is the latest device from New York born, New Zeland raised, and Brooklyn-based kinetic artist Joseph Herscher who builds elaborate Rube Goldberg machines that use complex chain reactions to complete mundane tasks. Some of Herscher’s effects here are subtle in their brilliance. He often creates small loops where his devices refer back to earlier steps, for instance the final state of step 25 is also used again as part of step 30.

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Top Albums Of 2011

| Everything about music | January 11, 2012

Top Skills Exchange Albums Of 2011

So here it is…finally our skills exchange music reviewer has listed her top albums of 2011. I’d love to know what you think or even better let us know what your your top albums of last year were:

1. Lady Gaga: Born This Way
Come on I see you all raising your eyes.. but… GaGa fever continued in full mode throughout 2011. This album is perhaps one of the biggest and fastest selling of its time. The music videos from the tracks off the album are also the most watched videos on YouTube. This album is a testament to the new queen of pop. Born this way has only clocked up over 86 million views on YouTube…

2. Bon Iver: Bon Iver
Ascending in the beginning and plateauing midway through, ‘Bon Iver’ is simply a beautiful album. Take the time to listen and appreciate Justin Vernon’s work of art, which is what this is.

3. Laura Marling: A Creature I Don’t know
What an album, anyone who can have people uttering comparisons to the great Joni Mitchell is rather worthy of praise. With the magnificent ‘A Creature I Don’t Know’, this young artist will be the reason why generations of future songwriters will cite Marling as one of the reasons they first picked up a guitar. Astounding.

4. Florence and The Machine: Ceremonials
Like them or Loathe them, F&TM always deliver songs that appeal to the masses. With ‘Shake it Out’ being their latest single offering; it lifts you up and is monumental. Who can argue that this band will continue to rise and rise.

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What Happens In Bookstores At Night

| Film and animation | January 10, 2012

What Happens in Bookstores at Night video Toronto books animation

After organizing their own bookshelf earlier this year, Sean Ohlenkamp and wife Lisa re-doubled their efforts for Type Books in Toronto. After several sleepless nights of animating with a crew of over 20 people, the Joy of Books was born. Music composed especially for the short by Grayson Matthews

Via metafilter

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Writing Workshops For Theatre, Film And Novels To Be Held In Triskel, Cork

| Life in a cultural petri dish | January 9, 2012

theatre script writing workshops

Have you got a story that you want to write? An idea for a play, a movie, a novel or short story that you want to get started on but can’t? Have you got a first draft that isn’t quite right, but you don’t know what to do with it now?

I’m running a writing workshop at the Triskel Theatre Development Centre in Cork, on the 13th – 17th of February. The workshop is for writers who need a space to experiment, who want to get inspired, or just need a little encouragement to start putting pen to paper.
Exercises will be focused on finding inspiration in the world around you, or in your everyday experiences, on experimenting with how limits and changes in your writing environment can impact on the work you produce, as well as how participating in other creative art forms (movement, visual arts) can then be fed back into your writing.
At the end of the week, we will choose one or two pieces from each writer to be performed by actors in front of a friendly audience, allowing writers another perspective on their work.

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There You Go, Another Weekly Song By Bill Coleman

| Everything about music | January 6, 2012

skills exchange window song

So our esteemed skills exchange member and musician supremo, Bill Coleman, finally made it; 52 Songs in 52 weeks. So this one is a little late but who cares as he says himself “I can hear trumpet fanfares in my head. Awesome”. Fair play and perhaps he’ll have more for us in the coming months. I’m really hoping he’ll come play some tunes for us at our next DIY Arts festival in May, whenever I get the dates sorted – if you want to get more of his music or know more about him then you know where to go.

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PROC Smartphone App Launched

| Life in a cultural petri dish | January 5, 2012

cork arts events listings

One of our skills exchange members from The People’s Republic of Cork has launched a smartphone app for the Rebel County – the first of its kind in Ireland. The app is currently available for iPhone, Android and Blackberry handsets and users can download the app from their respective app stores for free anywhere in the world.

The PROC app gives Corkonians and visitors to Leeside the opportunity to look up what’s going on every day and night in the City through the app’s live music, cinema, club, theatre and comedy listings. And as always you can submit your gigs to the event guide on the website for free.

The app also has some very useful features including a live feed from the city’s car parks so users can see which are full before they arrive in town.

The group have also included their infamous slang dictionary so locals and tourists can brush up on their Cork lingo as well as easy access to the infamous discussion forum.

Over half of all Irish adults now own smartphones and as Corkonians are that bit ‘smarter’ than everyone else it’s no surprise that the Rebels are first past the post with an app for Cork.

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A Book Review Of The Marriage Plot By Jeffrey Eugenides

| Book reviews and writers | January 4, 2012

marriage plot jeffrey eugenides

The Marriage Plot by Jeffrey Eugenides is my first book review of 2012 and perfectly reflects the kind of books I love reading over the Christmas holiday season  

It’s the early 1980s, America is in deep recession, French theory and deconstruction is in and the novel as we know is out; the straightforward march of an imagined story across a page has been shown up to be a sham.
This is the world in which we meet Madeleine as she wakes up, hungover, on her graduation day. She’s at Brown, an elite Ivy League College and a hot centre of postmodernism. Madeleine is an English major with a particular love for The Victorian novel which reached its apogee with ‘The Marriage Plot’. The marriage plot? You know what I’m talking about, you did it in school; one woman, two suitors – one suitable the other not – money, inheritance and a perfect life ever after.
It is within this clash between the Victorian plot – with Madeleine the perfect WASPish type who is madly in love with Leonard, a wildly intelligent and magnetic student and Mitchell who is convinced that Madeleine and himself should get married – and symbiotics that Eugenides attempts to create a meta fictional story around three young people who are about to leave a privileged and structured campus life and enter a new world of adulthood.

Despite this heady intellectual guff the book is really all about having fun with characters, like Franzen did in Freedom and The Corrections, Eugenides flits back and forth throughout the book filling in the rich and colourful backgrounds of the three characters and variously intersecting their different points of view when meeting each other on campus and after college. As with all good stories the three characters are chalk and cheese; Madeleine Hanna is tall, beautiful and perfect and was brought up by a private university president and his always-proper wife.
Leonard Bankhead had a dysfunctional childhood in Portland, Oregon with alcoholic parents and had late breaking academic success after spending most of his youth smoking dope.
Mitchell Grammaticus’ middle-class youth outside Detroit left him sartorially challenged but was firm enough to launch him into a philosophical study of religion.

The plotline is pretty straightforward. Madeleine and Leonard break up just before graduation, Mitchell thinks he’s in, Madeleine and Leonard get back together and Mitchell takes off backpacking for a year in Europe and India, still carrying a torch for his one true love. The question is who gets the ladies hand and who lives happily ever after?

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Pearse McGloughlin Releases ‘Bright Star’ For the New Year

| Everything about music | January 3, 2012

pearse mcgloughlin skills exchange music

One of our skills exchange members, Pearse McGlouglin, a prolific and wonderful Irish musician, has recently released a new single called ‘Bright Star’ and its yours for free – just download from the link below.
Pearse has been an active member of mutantspace for over two years, has performed at our DIY Arts Festival, The Trash Culture Revue, on a number of occasions, introduced us to some great musicians and performers who are now part of our co-operative and helped bring a bit of mutant magic to the Blazing Horse Festival last summer. So check his music out, check him out and try and catch him on tour…sometime this year.

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Cormac O’Caoimh and Stuart Wilde @ 7.30pm Gateway Bar, Cork

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