Bellissimi video di questi registi che documentano la vita urbana in giappone. Fanno sognare e viaggiare senza muoversi. Fantastici!

Awesome videos from two directors that document the urban life in Japan. They make us dream and travel without moving. Fantastic!

The Beat Of Shibuya by Darwinfish105

camera : Canon EOS 5D MarkII
lens : TS-E24mm f/3.5L
lens : Canon EF50mm F1.8 II
music : Those 3 Lovely Seconds (Original Mix) by Awakenas

Blade-Runneresque Tokyo - Android Dreams by Samuel Cockedey

BA TOKYO by Romain A

KAMI Productions
2010 - 2011

Tokyo Slo-mode by Alex Lee

Japan caught in slow. This is for my hometown. 
Music Credit: Flying Lotus ft. Thom Yorke- ...And the World Laughs With You

Lights back on the Tokyo Tower by Darwinfish105

Location : Roppongi Hills observatory "Tokyo City View" and around Shiba Park, Tokyo, Japan.
Date : May 21, 2011
camera : Canon EOS 5D Mark II
lens : Canon EF24mm F2.8
lens : MC ARAX 2.8/35mm Tilt & Shift
lens : Canon EF50mm F1.8 II
music : Ibiza's Flow (I miss you) by Awakenas

Leica Explorer - Japan by Romain A

Camera >>> Leica V-Lux 2 (300 images)
Video >>> Pummelvision
February 2011

Feels like Flying by Darwinfish105

A rainy day, the clouds flowing below the observatory. I feel like flying on the police spinner.
location : Yokohama Landmark Tower observatory “SKY GARDEN"
camera : Canon EOS 5D Mark II
lens : Canon EF24mm F2.8
music : Return To Monument Valley (Horizon Mix) by JCRZ

Ginza at Night by Darwinfish105

ISO160/SS100/AWB/film mode:smooth/No color correction.
I've tried most of the scenes in the F0.95. 
Camera : Panasonic DMC-GH2
Lens : Nokton 25mm F0.95
propanmode.net/​) walking_003

Slightly darkened streets of Tokyo by Darwinfish105

After the nuclear power plant accident, Tokyo continues to voluntarily conserve power. Tokyo night was darkened slightly. But the streets are still filled with people and cars.
camera : Canon EOS 5D Mark II
lens : MC ARAX 2.8/35mm Tilt & Shift
lens : Canon EF24mm F2.8
camera : Pentax K-5
lens : MC BIOMETAR 2.8/80mm & Tilt Adapter Pentacon Six
music : Sounds From The Past by mindthings

Yokohama Landmark Tower by Darwinfish105

Camera : Pentax K-7 & Seculine Twin1 ISR
Camera : Pentax K-x & デジりも for PENTAX by fc2xx
Lens : Pentax DA15mmF4ED AL Limited
Lens : Pentax FA31mmF1.8 AL Limited
Lens : Pentax DA40mmF2.8 Limited
propanmode.net/​) piano_012


Il nuovo video dei Justice per il singolo "Civilization", diretto da Edouard Salier, bellissimo!

The new Justice video per il singolo "Civilization" directed by Edouard Salier, beautiful!
Artist: Justice
Director: Edouard Salier
Producer: Mourad Belkeddar 
Production Company: Caviar Paris
Post producer: David Danesi
Post-production company: Digital District


Jeremy Geddes è un pittore iperrealista che vive e lavora a Melbourne, Australia. Ha studiato pittura nei primi anni '90 ha iniziato a lavorare nei video games come art-director. Nel 2003 è ritornato alla pittura a tempo pieno e da allora i suoi dipinti ad olio sono stati esibiti e pubblicati in tutto il mondo ed ha ricevuto parecchi premi. Bravissimo!

Jeremy Geddes is an hyperrealist artist living and working in Melbourne, Australia. Having studied painting in the early 90s, Jeremy initially worked in video games as an art director. In 2003 he returned to painting full time and has since had his oil paintings published and exhibited around the world. He has received multiple awards. Superb!


Gli UNKLE colpiscono ancora e colpiscono forte con un nuovo brano e video che è come una pugno nello stomaco. Con la voce di Nick Cave. Diretto da Tom Haines.

Quando "American Psycho" incontra "Arancia Meccanica" a "Salò".

La canzone è il singolo principale dal nuovo EP degli UNKLE, "Only the Lonely" e una versione estesa di un disco precedente, Where Did The Night Fall – Another Night Out [iTunes links].

UNKLE  strikes again with a disturbing video that's like a punch in the stomach. Featuring Nick Cave. Directed by Tom Haines.
American Psycho meets "A Clockwork Orange" in "Salò".

The song is the lead single off of UNKLE’s new EP, Only The Lonely and an extended version of a previous disc, Where Did The Night Fall – Another Night Out [iTunes links].


Esce questo mese "Total" compilation che riunisce i maggiori successi sia dei Joy Division che dei New Order - che condividono membri della band, etichetta discografica e designer delle copertine. Peter Saville, grafico e art-director, è stato uno dei co-fondatori della Factory Records di Manchester ancora una volta testimonia l'assoluta liberta' artistica lasciata a musicisti e creativi dall'etichetta discografica. "Ho avuto l'opportunità di creare gli aoggetti che avrei voluto vedere nella mia vita", dice Saville, famoso tra le tante cose per aver disegnato centinaia di copertine iconiche per la musica, le maglie dell'Inghilterra, art-diretto pubblicità per Dior ed e' stato direttore artistico  delal città di Manchester. Qui parla delle sue copertine preferite per i Joy Division e i New Order commentandole.

Next month sees the release of Total, the first compilation to combine the back catalogues of Joy Division and New Order – who shared band members, a record label and a sleeve designer. Peter Saville, graphic designer and art-director, was a co-founder of Factory Records and credits the label's unique culture for providing him with a creative freedom on a par with its bands. "I had the opportunity to make the kind of objects I wanted to see in my life," says Saville, who went on to design the England football strip, art direct adverts for Dior and was creative director of the city of Manchester. Here, he talks us through his favourite designs for Joy Division and New Order sleeves

Many Thanks to TheGuardian / The Observer

Unknown Pleasures
Joy Division (Factory, 1979)
This was the first and only time that the band gave me something that they’d like for a cover. I went to see Rob Gretton, who managed them, and he gave me a folder of material, which contained the wave image from the Cambridge Encyclopedia of Astronomy. They gave me the title too but I didn’t hear the album. The wave pattern was so appropriate. It was from CP 1919, the first pulsar, so it’s likely that the graph emanated from Jodrell Bank, which is local to Manchester and Joy Division. And it’s both technical and sensual. It’s tight, like Stephen Morris’ drumming, but it’s also fluid: lots of people think it’s a heart beat. Having the title on the front just didn’t seem necessary. I asked Rob about it and, between us, we felt it wasn’t a cool thing to do. It was the post-punk moment and we were against overblown stardom. The band didn’t want to be pop stars

Joy Division (Factory, 1980)
Peter Saville: “This cover for the band’s second album was like a work of antiquity, but inside is a vinyl album, so it’s a postmodern juxtaposition of a contemporary work housed in the antique. At first, I didn’t believe the photo was an actual tomb but it’s really in a cemetery in Genoa. When Tony Wilson (Factory co-founder) told me Ian Curtis had died I said, ‘Tony, we have a tomb on the cover.’ There was great deliberation as to whether to continue with it. But the band, Ian included, had chosen the photograph. We did it in good faith and not in any post-tragedy way”

Blue Monday
New Order (Factory, 1983)
“I’d been to see the band in the studio and Stephen gave me a floppy disk to take home. I thought it was a beautiful object. At the time, computers were in offices, not art studios. The floppy disc informs the design and the colour coding was from my interest in aesthetics determined by machines. It reflected the hieroglyphic visual language of the machine world. For example, the numbers in your cheque book aren’t really for you, they’re for a machine to read. I don’t know if the story about the label losing money on the cost of the sleeve is true. I sent the cover straight to the printers because everyone was in a hurry. I doubt the printers even gave a quote for Factory to respond to. The band had handicapped themselves as no one was likely to play it on the radio because it was seven minutes long. Ironically it sold a lot, and with an
expensive sleeve”

Power, Corruption & Lies
New Order (Factory, 1983)
“The title seemed Machiavellian. So I went to the National Gallery looking for a Renaissance portrait of a dark prince. In the end, it was too obvious and I gave up for the day and bought some postcards from the shop. I was with my girlfriend at the time, who saw me holding a postcard of the Fantin-Latour painting of flowers and said, ‘You are not thinking of that for the cover?’ It was a wonderful idea. Flowers suggested the means by which power, corruption and lies infiltrate our lives. They’re seductive. Tony Wilson had to phone the gallery director for permission to use the image. In the course of the conversation, he said, ‘Sir, whose painting is it?’ To which the answer was, ‘It belongs to the people of Britain.’ Tony’s response was, ‘I believe the people want it.’ And the director said, ‘If you put it like that, Mr Wilson, I’m sure we can make an exception in this case’”

New Order (Factory, 1985)
“The only sleeve with the band on it. I was at an impasse at the time – there was nothing conceptual I wanted to put forward - the unexpected thing to do was a photo of New Order, which for the band was beyond the pale: they didn’t even want to do a press shoot. They were photographed individually, so no one felt self-conscious, and we used a Polaroid film so they could see the pictures. As soon we got one they liked, we stopped. The tradition was that you would put the singer on the front, but I wanted the strongest image on the front and that was of Stephen, the drummer. Later, I found out that they never really believed those photos would end up on the cover. The next time I saw them, at a gig, they said, ‘You bastard.’ I don’t think they liked the sleeve. This was the nature of the relationship”

True Faith
New Order (Factory, 1987)
“This was a first work from real life. In 1986, I happened to have a trauma in my personal life and it made me very attuned to the world around me. Suddenly, I had no filters. I was parking the car one night and a leaf drifted by the window and I thought, ‘That’s so beautiful.’ It was framed by the windscreen, which is probably why I saw it as an image. So we did a leaf. I went to Windsor Great Park with photographer Trevor Key, came back with about 50 leaves and shot two or three until we found the right one. It had to be the right shape and look like it was falling. There was no digital manipulation at this point. I still have the leaf although I keep thinking that one day it will fall apart”

New Order (Factory, 1989)
I’d moved on from being interested in 80s consumer products and had begun going to Pimlico Road to look at antique shops. Which was where I saw the cherub statue we used on 
Technique. It was a garden ornament and we rented it for the shoot. It’s a very bacchanalian image, which fitted the moment just before the last financial crash and the new drug-fuelled hedonism involved in the music scene. It’s also my first ironic work: all the previous sleeves were in some way idealistic and utopian. I’d had this idea that art and design could make the world a better place. That even bus stops could be better. In some ways it’s also quite neo-Warhol. And before he’d even seen the sleeve Rob Gretton suggested ‘Peter Saville’s New Order’ as the title of the album. As in ‘Andy Warhol’s Velvet Underground’. That went down like a lead balloon with the band

New Order (London, 1993)
“I was broke after the recession and it made me look more critically at the world. I’d picked up a copy of Richard Prince’s Spiritual America at the Walker art museum in Minneapolis. It made me appreciate how strange contemporary America really was. Later I spent a month in Los Angeles – and there was something about the experience that was like the end of the world. There’s nowhere further to drift, it’s the terminal beach where the western world washes up. It was the first time I did a New Order cover listening to the record – I wrote down everything that came into my mind. I wrote ‘cowboys’ for Regret because of the way it rolled. And cowboys referenced Richard Prince and the Marlboro Man on Sunset Boulevard. Juxtaposed imagery blending into something molten, the way you might see the world if you were hallucinating”

New Order (London, 2002)
“I’d been in the Helmut Lang store in New York and in the entrance was an assemblage which he had made: two large carved wooden eagles around a huge glitter ball. Months later, when the request of doing the cover for Retro was put to me, I couldn’t get eagles and the glitter ball out of my mind. It represented both Joy Division and New Order. The eagle was dark, brooding, gothic and where the band came from - Joy Division. The glitter ball was what happened afterwards, which was New Order. The glitter ball is deliberately broken, so the eagle is picking away at disco. Helmut Lang was OK with us referencing his work. It was a very memorable photo shoot. Tilly the eagle was a lovely bird, she does a lot of TV work, but when a creature like that is actually standing next to you it’s terrifying”

Joy Division & New Order (Rhino, 2011)
“I realised this was a record that would be sold in supermarkets and advertised on television. So the cover has a ‘pile it high, sell it cheap’ aesthetic. As you open it out, it says ‘Total’, but folded up you just see the ‘O’s. It says, ‘From Joy Division to New Order’. I couldn’t bear the words ‘Best of’. It’s a long way from the independent record shop to Tesco, almost 33 years. At Factory, I had a freedom that was unprecedented in communications design. We lived out an ideal, without business calling the shots. It was a phenomenon”

Photos: Thanks to Factory Records - London Records – Rhino records


Dalla Polonia piccoli film che mescolano humour nero, ironia, dramma e una grande senso per l'atmosfera. Bizzarri e formalmente perfetti, alcuni lasciano un lieve senso di disturbo. L'arte serve anche a riflettere e gli artisti dietro il progetto Design-GENERATION centrano perfettamente l'obiettivo con questa serie di piccoli capolavori. 

From Poland little films that blend black humour, irony, drama and a big sense of atmosphere. Weird and formally beautiful, some are pretty disturbing. Art is supposed to induce reflection and the people behind the polish project Design-GENERATION are fantastic at doing that with this stunning serie of little masterpieces. 


Gilbert "Gil" Scott-Heron (Chicago, 1º aprile 1949 – New York, 27 maggio 2011)

Gilbert "Gil" Scott-Heron (April 1, 1949 – May 27, 2011)

Un bellissimo e toccante saluto al grande Gil da parte di Michael Franti 
A beautiful and touching farewell to the great Gil by Michael Franti  

The Revolution Will Not Be Televised- Gil Scott... di larsen42


"The Revolution Will Not Be Televised: A Film About Gil Scott-Heron", Diviso in 6 parti, con contributi di discepoli come Chuck D dei Public Enemy e Mos Def e musica da tutte le fasi della sua carriera che ha prodotto più di 20 albums dai primi anni '70. Un bellissimo film trasmesso dalla BBC nel 2004.

"The Revolution Will Not Be Televised: A Film About Gil Scott-Heron", splitted in 6 parts, features contributions from disciples such as Chuck D and Mos Def as well as music from his career stretching back over 20 albums to the early ’70s. Originally aired on the BBC in 2004.


LOGORAMA è un corto (già vincitore di un Oscar nel 2010) iperconosciuto, ma non potevamo non menzionarlo nel nostro Blog perche' da sempre siamo ammiratori di H5, il collettivo francese di animatori che l'ha creato (François Alaux, Hervé de Crécy + Ludovic Houplain). Già eravamo entusiasti nel 1999 con il copiatissimo "The Child" di Alex Gopher (menzione speciale anche per la canzone che campiona la voce divina di Billie Holiday) e tante altre avventure animate (Royksopp, Darkel, ecc.), sempre da primato. Bravi! 

LOGORAMA is a short film that was directed by the French animation collective H5, François Alaux, Hervé de Crécy + Ludovic Houplain. It was presented at the Cannes Film Festival 2009. It opened the 2010 Sundance Film Festival and won a 2010 academy award under the category of animated short. 

In this film there are two pieces of licensed music, in the beginning and in the end. All the other music and sound design are original. The opening track (Dean Martin "Good Morning Life") and closing track (The Ink Spots "I don't want to send the world on fire") songs are licensed pre-existing tracks. All original music and sound design is by, human (


Uno Spot per il 50mo anniversario di Amnesty International. Grazie Amnesty / Thanks!

Spot for the 50th anniversary of Amnesty International, produced by Eallin Motion Art and Dreamlife Studio, with Music by Academy Award Winner Hans Zimmer and Nominee Lorne Balfe.


Director: Carlos Lascano
Music: Hans Zimmer, Lorne Balfe

Producers: Lukáš Skalník, Martin Hovorka, Paula Lema, Carlos Lascano
Production Managers: Ivanna Kozak, Pavla Martinovská, Martin Štefan / Script: Carlos Lascano, Paula Lema
2D, 3D Team: Jiří Forejt, Martin Hanschild, Josef Kasal, Pavel Kout, Martin Ličko, Dmitry Medinsky, Ondřej Přidal, Renata Stránská / Matte Painter: Leo Verrier / Puppet Animation: David Sukup / Scale models: Pavel Kout, Jiří Mlčák, Marek Skalník / Cast: Monika Řezníčková / Technical support: Jan Řada, Jakub Gobel / Sound Postproduction: Basefloor – Michal Dvořák / Sound Designer: Michal Dvořák / Final Color Grading: Jan Černý


Destino è un cartone animato realizzato nel 2003 dalla Disney. La sua produzione iniziò nel 1946 quanod lo stesso Walt Disney incaricò Dalì che si occupò subito dei disegni preliminari. Il progetto fu troncato e rimase in stallo per più di mezzo secolo. E' stato riattivato solo nel 2003 per volere del nipote di Walt, Roy Disney e il produttore Baker Bloodworth che lo hanno prodotto seguendo le istruzioni e i disegni originali dell'artista. La musica di Destino è stata scritta dal messicano Armando Dominguez. Destino ha vinto poi l'Oscar nel 2003 nella categoria cortometraggio di animazione. 

Destino is a short animated cartoon released in 2003 by The Walt Disney Company. Destino is unique in that its production originally began in 1945, 58 years before its eventual completion. The project was a collaboration between American animator Walt Disney and Spanish painter Salvador Dalí, and features music written by Mexican songwriter Armando Dominguez.

Salvador Dali di MELMOTH

Salvador Dalì / Lois Bunuel / Un Chien Andalou