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1. Automaton:Death + Resurrection: In the Chamber of Reflection

  • Published: 2009-03-29T10:23:55+00:00
  • Duration: 74
  • By Thomas Kuntz
Automaton:Death + Resurrection: In the Chamber of Reflection

This automaton, a nightmarish vision was inspired in part by the 19th century Phalibois clown automaton. The first version was sold to a private collector and then this 23" tall automaton was made from a completely new set of sculptures with some added features and a completely new mechanical design. It is an auto-biographical self-portrait told through occult allegory and runs for one minute to complete the cycle. A mechanical musical "dirge" is built into the machine, but not heard on this clip. The entire figure including the cams levers and actuating devices below the figure were made from scratch; hand cut from brass steel and wood. Costume and video edit by Blake Bolger. "Great Big beautiful tomorrow" remix by monocle mechanic This automaton was recently shot and used in William Malone's Film "Parasomnia" 2008 On permanent display in the spirit room.

2. Porcelain - Catharina Vidal Original Song

Porcelain - Catharina Vidal Original Song

Out of wisdom and of faith You cracked your way into my bones You fell in love with a girl with a rope around her neck Helplessly wandering in her broken wonderland Kiss her neck Wake her up But she ain't waiting She ain't waiting anymore Delicate porcelain lies broken on her room dark worn out lingerie Tells stories no one dares to say I never saw the moon Was so beautiful until now As pale as her And always keeping a secret Kiss her neck Wake her up But she ain't waiting She ain't waiting anymore Out of my love for her eyes I fell into her vision Such a wonderful land of wickedness I could never leave her I could never leave her Kiss her neck Wake her up But she ain't waiting She ain't waiting anymore

3. Booker Noe, The Legendary Master Distiller

  • Published: 2009-10-25T02:00:20+00:00
  • Duration: 856
  • By Steve Weiss
Booker Noe, The Legendary Master Distiller

I had been doing a lot of videos for Jim Beam Brands prior to making this video in 1998. The video was made for the theater at the Jim Beam distillery in Bardstown Kentucky. Booker Noe was the Grandson of Jim Beam and the master distiller at the time. We became very friendly with Booker and his family and subsequently made many videos with him. I remember one time when we were just screwing around in Bookers basement and drinking some of his homemade moonshine whiskey and at other times Booker would take us into the rack house and pull some 100 year old Bourbon out of the barrel. I remember one night we had a campfire with Booker and his family. Good times, we really liked Booker. Booker was a great character and a terrific personality. Our producers rented a helicopter to do all of the beautiful ariels right during the fall color change. As we were flying over the rolling hills in Kentucky we noticed a beautiful old trussel bridge with a gorgeous old train just about to go over it. We told the pilot to fly over there so we could get some shots, he reluctantly agreed. Just as we are shooting this amazing shot, the helicopter starts flying straight up (with our back towards the ground) and the pilot is screaming. He almost hit some power lines and informed us (in not so nice terms) that we can only do rehearsed shots. We shot this video on mini dv (boy, would I have killed to do this with an HD camera but that wasn't even an idea at the time). Film was not in the budget because we literally shot this video over several weeks not including all of my footage I had done prior to this point for Jim Beam. The edit was done off-line by Lucyna Wojtas (now my wife) on a D-Vision NLE, one of the first NLE's. Then we re-edited the whole video in a machine to machine on-line room and mastered on 1" video. I had created such a huge archive of Jim Beam and Booker footage (about 350 tapes) that I eventually sold my entire collection of footage to Jim Beam when Booker passed away. Always retain the rights to your footage when doing work for hire. Creative Director: Rick Shaughnessy Producer/Director: Steve Weiss Assistant Producer: John Lenart DP and Camera Operator: Jens Bogehegn Creative Editor: Lucyna Wojtas

4. Priya & Shyam

Priya & Shyam

Priya & Shyam Find light in the beautiful sea I choose to be happy You and I, You and I We're like diamonds in the sky You're a shooting star i see A vision of ecstasy When you hold me, I'm alive We're like diamonds in the sky Beautiful wedding summed up so well by this lovely soundtrack. Real pleasure to be involved in such an epic wedding and produce some seriously stunning footage for this wonderful bride and groom. A wedding for 800 guests was held at the prestigious Grosvenor House Hotel, Park Lane and was awe inspiring. Sandeep from Dream Occasions and Zibbi from DBZ events had made sure the Great Room looked regal and oozed class and sophistication. Madhu's provided the food with Aziz providing the stills. The following weekend moved this grand affair to a stunning reception at Park Plaza Westminster Bridge. Kudos were in the house and did what they do best! As did the uber talented Krishma aka Malia Dalia cakes with a cake suspended from the ceiling which had to be seen to be believed. Andy Bignold was the toastmaster extraordinaire with Madhu's and Aziz once again making up this who's who of elite wedding suppliers. As always Dream occasions had transformed the ballroom into a wonderland and was such a joy to film! We hope you enjoy this super short film and as always stay tuned for much more! • Wedding Cinematography by Film AM Weddings • Filmed using Canon EOS C100’s & Canon 5D MKIII’s • Lenses (Canon) - 24mm F1.4L, 50mm F1.2L, 135mm F2.0L, 8-15mm F4L, 16-35mm F2.8L, 24-70mm F2.8L, 70-200mm F2.8L II • 15 foot Crane with Kessler Revolution Pan & Tilt Head • Camera Support - Miller DS20 Fluid Head Tripods, Cinevate Camera Sliders • DJI Phantom 2 with GoPro Hero 4 • Audio Capture - Rode NTG3 Shotgun Microphones, Sennheiser Wireless Microphones & Zoom H4N Mobile Audio Recorders • Edited using Apple Final Cut Pro 7 • Hindu Wedding - Great Room, Grosvenr House Hotel - • Wedding Reception – Park Plaza Westminster Bridge - • Caterers – Madhus - • Lighting & Music - Kudos Music - • Wedding Cake – Krishma - • Décor – Dream Occasions - • Band Baja – • Toastmaster – Andy Bignold • MUA – Gini Bhogul - • Photographer – Aziz - Find us at and join our fan page to keep up to date with our latest work Alternatively give us a call on 0845 604 5568 or 07760 784 209 if you fancy a chat

5. "As architects we have a responsibility to society" - Richard Rogers

  • Published: 2013-07-24T18:05:07+00:00
  • Duration: 227
  • By Dezeen

See more architecture and design movies at In the first of a series of exclusive video interviews with Richard Rogers, who celebrated his 80th birthday yesterday, the British architect discusses the themes of his current Royal Academy of Arts retrospective and explains why he believes that a building should not just be designed for a specific client, but society as a whole. Rogers explains that the exhibition at the Royal Academy of Arts in London is not meant to simply be a showcase of his work. "The Royal Academy asked whether I would like to do an exhibition about my life, not specifically about my work," he says. "[It is] more about the thinking and also a section through 80 years of life." The key theme of the exhibition, Rogers explains, is social responsibility. "We've decided to call the exhibition Inside Out, partly because I often put structure and ducts on the outside of buildings," he says. "But the real title is Ethos. The idea is that we have a responsibility to society. And that gives us a role as architects that is more than just answering the client but also to answer the passerby and society as a whole." Greeting visitors in large letters on the wall of the first room in the exhibition is a quotation that reads: "A place for all people, the young and the old, the poor and the rich." Rogers explains that this was the first paragraph that he wrote with Italian architect Renzo Piano when they were preparing their competition entry for the Centre Pompidou in Paris, which would go on to become one of Rogers' most famous buildings. "It shows the heart of this exhibition because that gave us the way of handling the Pompidou not just as a building, but also as a place, which I'm much more interested in," Rogers says. In this room there is also a video projected on the wall, in which Rogers explains his concept of "ethos". "It's based funnily enough on my mother's watch, which I always wear," Rogers says."It is a Bulova, which has beautiful workings in it. It's some 50 years old now, and [the video] sort of explains my work through that watch." On the wall of the exhibition's final room is another quotation, a translation of an oath that young men of ancient Athens had to swear before becoming full citizens: "I will leave this city more beautiful than I entered". "It is an oath which I would like to think we are all trying to do," says Rogers. "Using beauty in that very broad, shall we say Greek way: democratic and intellectual, not just purely aesthetic." Rogers goes on to explain that he believes that good architecture is the result of teamwork, rather than one person's vision. "I work very much with colleagues, with friends," he says. "Architecture is about teams. The idea that you suddenly wake up and do a sketch is not true. The only time I do that, I usually wake up with a hangover the next morning." He continues: "Like any work, whether film or book, [architecture] has its own inertia, it changes direction. And also the scale changes. The scale in your mind, the scale in models slowly gets more and more attuned to what you're actually doing. You can't imagine a building as complete any more than you can imagine 500 pages [of a book]." The exhibition also features a number of personal items, including a report card from Rogers' fourth year as a student at the Architectural Association School of Architecture, which doubts his ability to succeed as an architect. "I was an appalling student, all my life," says Rogers, who was later diagnosed as suffering from dyslexia. "In fact, I enjoyed myself much more in the last third of my life than I did in my first third." "Everybody said I was stupid and then I found out that actually I had learning difficulties. So those gave me a lot of problems for the first thirty years. But the last 30 years of my life have been fantastic." Richard Rogers RA: Inside Out exhibition runs from 18 July to 13 October 2013 at the Royal Academy of Arts in London.

6. Real Estate Tour Video

Real Estate Tour Video

Welcome to this total 2012 rebuild in prestigious South Rosedale. Cohesive vision between the builder and designer contributed to a spectacular and exciting family home featuring four full levels of finished space. The fabulous Vienna white, honed marble foyer with laser-cut inlay and the handsome winding staircase set the tone for what lies beyond. To the left of the foyer is a library or home office with panelled walls, built-in bookcases and solid walnut pocket doors. Tucked off to the right is a 2 piece powder room. Upon entering the living room, you will marvel at the unique Town and Country gas fireplace, crown moulding and beautiful hardwood floors. A useful and charming bar/servery located between the living and dining room features built-in cabinets, granite countertops, a convenient sink and temperature controlled wine fridge. The large, formal dining room has painted panelled wainscoting, crown moulding and recessed halogen lighting . Through the swinging door the eat-in kitchen with custom cabinetry and leathered marble counter tops is designed to please and delight the most serious of cooks with its top of the line built in appliances, breakfast bar and a lovely large window overlooking the back garden. Combined with a large, comfortable family room the French doors open to a stone dining terrace with steps down to the expansive and private landscaped garden featuring an approximately 17’ x 36’ in-ground salt water pool. The gorgeous staircase leads to the second floor where French doors open into the master bedroom featuring a gas fireplace, lots of custom built-ins, a separate dressing room with a large walk-in closet and an incredibly beautiful 5 piece marble ensuite. Two other bedrooms on the second floor each have walk-in closets and ensuite bathrooms. Tucked off to one side is a very convenient laundry room. The third floor has 2 more bedrooms, a large family or recreation room and a walk-out to a very large epay wood deck overlooking the city skyline. The lower level is an open concept media/games/exercise room with heated flooring, built-in wet bar, walk-out to the garden and an oversized bathroom to service the pool-users. Another full laundry room with custom cabinetry and direct entrance to the double garage complete the lower level. Located within walking distance to Branksome Hall Private School for Girls, Rosedale Public School, Mooredale Community Centre and with public transportation nearby, this home awaits a family whose every indulgent wish will come true.

7. LADA Presents: A Vision of Love Revealed in Sleep at Tate Britain

LADA Presents: A Vision of Love Revealed in Sleep at Tate Britain

A Vision of Love Revealed in Sleep Neil Bartlett Tate Britain, 7th July 2017 Online from 17th August - 17th October A Vision of Love Revealed in Sleep, Neil Bartlett's one-man homage to the defiant life and work of pre-Raphaelite painter Simeon Solomon, was acclaimed as one of the defining queer performances of the decade when Bartlett originally created it at the height of the first wave of the British AIDS epidemic in 1987. To celebrate the inclusion of Simeon Solomon in Queer British Art 1861-1967 exhibition, Bartlett revived the piece for one night only in a collaboration between Tate Britain and the Live Art Development Agency. The performance was be followed by a discussion about the shifting histories of queer art, performance and culture between Bartlett and Dominic Johnson, a writer about Live Art histories, and a Reader in Performance and Visual Culture at Queen Mary University of London. A video of the post show discussion is also available to view on the LADA Screens channel. View post show talk: For this LADA Screens we are also including a full length interview with Bartlett, made for Performance Magazine Online, where he reflects on making queer performance art and theatre in the 1980s and the changing face of East London within the context of Performance Magazine which he guest edited in 1987. View Interview: About Simeon Solomon Simeon Solomon was born to a ‘respectable’ London Jewish family in 1840, and achieved considerable early success as a professional painter and illustrator. He was exhibited at The Royal Academy, and lionised by the pre-Raphaelites for his flamboyant attitudes towards both life and art. In 1871 he wrote and published a daring 25-page long prose poem entitled A Vision of Love Revealed in Sleep, a text in which the recurrent homoerotic images of his early visual work are reconfigured as a mystical journey towards enlightenment and liberation. In 1873 he was arrested while having sex with a sixty-year-old stableman in a public toilet just north of Oxford Street. His friends and exhibitors dropped him. He kept working. He moved into the St Giles Workhouse, reputedly one of the worst in London, and died, entirely unrepentant, in 1905. In 2017 seven of his works were hung in pride of place in the opening room of Tate Britain's current show Queer British Art 1861-1967, and his work is now also kept on permanent display in the gallery in which the performance took place, alongside the work of his contemporaries. A Vision of Love Revealed in Sleep This solo version of A Vision of Love Revealed in Sleep was originally commissioned by Battersea Arts Centre, and was first performed there in 1987. It moved to a derelict warehouse at Butler's Wharf, London, where it was presented by the ICA, and then went on a British and European tour in 1988. In 1989-90 the solo show was expanded to include four other performers and played at The Drill Hall, London. Each version of the show was performed within an original site-specific decor created by artist Robin Whitmore. The Butler's Wharf version of the show featured sound by DJ Jeffrey Hinton (which was used in the Tate Britain performance). The Drill Hall version of the show was performed to a live piano soundtrack created and performed by Nicolas Bloomfield. The 1989 performances also featured Bette Bourne, H.I.H. Regina Fong and Ivan Cartwright. In 1990, Ivan's role was taken by Robin Whitmore. A Vision of Love Revealed in Sleep was produced in all of its incarnations by Simon Mellor, initially at BAC and then as part of his work for GLORIA, where he was assisted by Mavis Seaman. The show was also notably aided and abetted along the way by Michael Morris and team at the ICA and by Julie Parker and all the staff at the Drill Hall. The text of the solo version of A Vision of Love Revealed in Sleep is published by Oberon Books as part of Neil Bartlett's anthology of his performance pieces, Solo Voices, and is available to buy on Unbound. Neil Bartlett - Biography Neil Bartlett is an author, theatre director and performer. In the past thirty-five years he has made radical new performance work in many strange and beautiful places, including Southwark Cathedral, several derelict warehouses, a working hospital lecture-theatre, the Royal Vauxhall Tavern – and the Lyric Hammersmith, where he was artistic director from 1994 to 2005. About LADA Screens LADA Screens is a series of free, online screenings of seminal performance documentation, works to camera, short films/video and archival footage. It is part of Live Online, LADA’s dedicated space where you can watch short videos and films drawn from LADA’s Study Room or generated through our programmes and initiatives. For more information about LADA Screens please contact Alex Eisenberg.

8. Ken Adam, designer - Cold War Modern

Ken Adam, designer - Cold War Modern

I trained for a year in the United States and then came back to England in the beginning of ’43 and then was fortunate enough to start flying the Typhoon, which at the time was the most powerful and fastest fighter in both air forces, I think. I never wanted to be an architect … A very famous designer of the pre-war times, Vincent Korda, advised me to study architecture as a background for film design. My mother had a house in Hampstead and by this time I was an expert on air-raid shelters. I’d built a trench in our garden, but forgetting that the ground water level was very high and to cut a long story short, after a couple of weeks, three weeks, the whole air-raid shelter had collapsed, which was a disaster – it was my first architectural project. As far as design is concerned I don’t think the war had any influence in that sense, except that I let myself go, you know, and also as the 60s approached I felt very strongly that my designs had to be bigger than life, slightly tongue in cheek, but also reflect the time that we’re living in. So Dr No gave me that opportunity. I played around a lot with metals, copper, gun metal. Terence Young was the director, was the first one who came and he loved the sets. They encouraged me enormously and being encouraged that way I really went all out. Stanley Kubric called me after he had seen Dr No, and he loved it, and asked me if I would be interested in designing his next film, a sort of a comedy dealing with the, looking at the destruction of the world … And he wanted me to come over straight away to discuss this project and I went over to the Westbury and we immediately hit it off, it was amazing, you know … And I thought, this is going to be a piece of cake, you know everybody says this genial, young director is unbelievably difficult to work with and I was scribbling some ideas and he loved the ideas immediately and I thought, you know I don’t know what everyone’s talking about, little did I know. He did say 'It’s the director’s right to change his mind until the cameras started turning'. But I learnt that he changed his mind many times after the cameras had started turning, but every time he changed his mind it was for the better, no question about that. After three weeks he said one morning to me, 'You’ve got to come up with a different design'… And you know I wasn’t really experienced enough at that time, and I nearly flipped you know … And I took a walk in the very beautiful gardens at Shepperton Studios and took a Valium or something like that … And once I’d calmed down, in my cubby hole I started sketching again. But Kubrick was standing behind me and when I came up with this triangular shape he said 'hold it for a minute', you know, 'isn’t the triangle the strongest geometric form?' And I didn’t really know but I said, 'Of course then'… and then he said 'well how are you going to treat the wall surfaces?' I said 'As reinforced concrete.' So he said 'like a gigantic bomb shelter?' I said, 'Yes', and that sold him. And one thing you’ll find in most of my designs is a circle somewhere … and thought it would make an interesting table for the general staff and the president of the United States to sit around. And he said, 'wait a moment, that table you can cover in green felt', was a black and white picture then. He said 'Well I want the audience to feel like they’re playing for the fate of the world like a poker game', you know … At the same time came up with another circle which was like a lighting ring, a suspended lighting ring, and Kubric, just loved it…And so we spent days together, myself sitting in a chair and he holding up photo floods to decide which is the best angle to light these actors with. The whole scene and the wall was lit from that ring. You know with these reflections, you didn’t believe at times you were in reality, but it had the right effect. And I’ll never forget Terry Southern, the writer, the first time he came on the set, but he had a great sense of humour. He said, 'It looks interesting Ken but will it dress?' The vision of the war room was purely something that I invented because I didn’t have any real reference. I believed that I could create a set which does not reflect reality, a more realistic acceptance by the audience than by designing something very realistically. When Ronald Regan became president of the United States he asked his chief of staff to be shown the War Room of Dr Strangelove, because he believed it was somewhere in the Pentagon or so on … and that is really a true story. About four years ago, five years ago, I was invited to LA to pay a tribute to Stanley Kubrick, shortly after his death. Steven Spielberg came to see me and he said, 'Ken, I’ve never met you before but I’ve always wanted to tell you that the boardroom in Dr Strangelove is the best set you ever designed and I think the best set that has ever been designed for a film'.

9. ARVIN + JOANNA | SDE | 05.12.17

ARVIN + JOANNA | SDE | 05.12.17

"If I know what love is, it's because of you." One of the things we love about what we do is being able to turn these series of breathless moments into something as beautiful as their love story. Still remember the first time we met Arvin and Joanna, they're another reminder of why we love what we do. They knew exactly what they wanted and it's always a pleasure to see our couples put their full trust on us on their big day and deliver their vision. Arvin and Joanna, we wish you everything and more in this new chapter. The love that you two share is definitely something one can point out in a crowded room. We can honestly say, if we know what love is, it's because of YOU! Watch their series of breathless moments here,

10. Concepts of equality

Concepts of equality

It seems so very strange the way our food systems have mutated over just the last few generations. From being something that was so central to our lives, our environment, our cultures and our individual identities, food has, like so much else in the world just become another commodity. Although almost all trace of our once rich food heritage has disappeared with the growth of homogenized global mega cities, it is still not difficult, if you look, to see systems that still maintain the essence of what our food systems once looked like and should look like. Once again I found myself at the beautiful Golden Temple in Amritsar and once again found myself shooting food at the temple. But this time it wasn’t Langar and the huge food halls that feed thousands of people every day for free, this time it was something a little more specific, Karhah Prasad. I was not so interested in the process of this rather strange food made from just wheat flour, sugar, ghee (clarified butter) and water but more in the philosophy and reasoning behind this offering, the symbolism that is so very much part of Sikh religion and culture. As always, the Sikh community and the officials at the temple were amazingly accommodating, taking us in and doing everything they could to make our life as easy as possible. The first night we spent in the kitchen as they began to prepare the first batch of Prasad. (it is only Karhah Prasad once it has been divided by the sword) Massive steal vats, spotlessly clean sit on huge burner that raw like jet engines, the smell of burning ghee and a haze of flour dust fills the room as men open family size tins of flour, ghee and sugar. One by one the ingredients are mixed, then once the temperature is right, the water is added, sending plumes of scented steam into the air. This is the simple yet apparently complex (it’s all in the timing) method of making the most sacred foods of Sikh religion and culture. The philosophy behind it comes from Guru Nanak, who founded Sikhism in the late 15th century and embodied the basic principles of Sikhism… equality. By using equal amounts of each ingredient, then blessing it and sharing it equally, this simple offering represented to people the message of equality of both men and women, a message the world seems to have forgotten, not just in the east but in the west too. The three ingredients were at one time sourced from local families who farmed the Gurdwara’s surrounding lands. They would donate them as part of their Dasvand, which literally means, one tenth. Whether financial, agricultural or as service to others, all Sikhs believe that one tenth of everything we have to give should be shared with those less fortunate than us. But all this has now changed and as with so much in our physical and psychological systems, it has become more about business than charity and with the feeding of so many pilgrims every day, it is only the large factories that are able to keep up with the huge demand. The romantic vision of local farmer supplying the best quality organic ghee, flour and sugar have now all but disappeared as Punjab continues to develop more and more along the lines of western cultures and economic paradoxes. In the flatness of the Punjabi agricultural landscapes and the middle of the madness that is Amritsar stands one of the most beautiful buildings in India and in it, preserved for generations are philosophies and teaching that should remind us of where we have come from and where we need to go. But with the constant and growing noise from the traffic horns and radio’s surrounding the temple, I feel the message is becoming increasingly less audible. With thanks to: Garry Morris for the music at Simran Sethi who I worked with on this project and Alok Gupta for working so hard in organising and translating everything.

11. Country houses

Country houses

In this film we’ll be looking at the development of British country houses over 400 years since the time of Henry VIII. Our journey will show how such houses changed dramatically over the years in response to the social, economic and even political needs of the families that lived in them. Many of things you can see in the British galleries came from country houses like these. For most of this period, owning land in the country meant far more than it does today. It secured your position in society. It meant money from rents and the political support of your neighbours and tenants. At the centre of a great estate stood the country house. It was used to impress and entertain influential visitors. In today’s terms, it was at least as expensive and exclusive as owning a private jet. The journey starts here at Hengrave Hall in Suffolk, built in the reign of Henry VIII. Hengrave Hall was built by one of the richest men in London - Thomas Kytson. Hengrave was Kytson’s main country residence. It is laid out around the courtyard, typical of the Tudor period. Unlike most Tudor houses where rooms opened off one another, Hengrave has corridors around the courtyard providing access to the rooms on each floor. Hengrave Hall was not a single family home, but was built for an extended household that included relatives as well as servants. This kind of Tudor house had only one large room, the Great Hall. This was the heart of the house. The household met and ate here, but the Hall was chiefly designed as an impressive space in which to receive and entertain visitors. Kytson, his family and honoured guests sat at the top table, basking in the light of this spectacular bay window, in itself a major status symbol. But if Kytson could display his wealth through glass, so could others. Hardwick Hall in Derbyshire is one of the finest surviving Elizabethan houses. Its masses of glass and huge height were extraordinary for the period. It was built about 70 years after Hengrave by the celebrated Bess of Hardwick, Countess of Shrewsbury. This house is her vision and is signed with her initials, Elizabeth Shrewsbury, all along the top. By the 1590s the inside of a great house was as grand as its outside. At Hardwick there is still a great hall, but it functioned mainly as an imposing entrance. Upstairs there are impressive and specialised public rooms, what we now call state rooms. Bess lived on the first floor, but the state rooms were on the second. Guests were brought up this beautiful stone staircase to the magnificent High Great Chamber. This was the ceremonial centre of the house where Bess received them. The chamber, at least three times the size of the Great Hall at Hengrave, is lavishly furnished with a set of Brussels tapestries. Bess had a passion for textiles and built up a vast collection - it cost even more than the house itself. Next to the High Great Chamber is this immense Long Gallery, running the whole width of the house. This was a new kind of room. Bess and her guests came here for exercise, but it was also another opportunity to impress. Bess used it to show portraits which displayed her ancestry and political connections. Surprisingly, there are even rooms on the roof. It’s hard to believe that this was once a banqueting room in which a desert of delicacies would have been served. From here Bess and her guests could enjoy the view of the deer park and all that she owned. 100 years later we have arrived in another world. The unstructured, natural surroundings of Hardwick are very different from the gardens here at Chatsworth House in Derbyshire. This was the Baroque period when gardens were changing on a grand scale. Their design was now being considered alongside the house. The formal, straight canals and avenues of French garden design were being introduced all over Britain. Here at Chatsworth there had been many changes, but the spectacular Baroque water features still remain. Water was everywhere – water gods, trick fountains like the Willow Tree and a monumental cascade which was one of the grandest in the country. However, the house itself was always the main focus of the garden and from all points of view your eye was led back to it. To explore the inside of a Baroque house we’ve travelled 100 miles to Beningbrough Hall near York. Like the gardens at Chatsworth, the layout of this Baroque house was dominated by straight lines and symmetry. During the Baroque period specialised rooms were grouped together into sets called apartments. These were formal rooms occupied by important guests or the owners of the house and they worked like a home within a home. On the ground floor at Beninbrough there are two apartments. When an important guest stayed in the apartment, people could come to pay their respects. How far they were allowed into the apartment depended on their social status and their relationship with the guest, so most people never got beyond this large reception room. If you were important you were allowed an audience here in the bed chamber. Only a select few got as far as the dressing room, but you were privileged indeed if you got as far as the closet. This was the smallest room of the apartment where the most confidential matters could be discussed. All the doors are arranged in a straight line. This kind of linear arrangement was called an ‘enfilade’. It echoes the straight garden vistas of the kind we’ve seen at Chatsworth. Here the enfilade runs the whole width of the house, joining the rooms of both apartments. In 250 years we’ve come from Hengrave, with only one major room through the development of specialised rooms at Hardwick, to the formation of the apartment at Beningbrough. But here at Kedleston Hall near Derby the whole centre of the house was built purely for the entertainment of visitors. The house was designed by the famous architect, Robert Adam and his elegant, decorative style can be seen throughout. The family’s private rooms and service areas are separated into two symmetrical wings at the ends of curved corridors, but the main floor of the central block was conceived as a circuit of linked public rooms designed for grand social occasions. Robert Adam took the most impressive elements of ancient Roman and Greek design and translated them into a modern English setting. All these beautiful rooms, filled with art collections, were made simply for display. But this display of wealth wasn’t limited to the house. The whole of Kedleston village was moved and replaced with this artificial lake simply to improve the view. Some 50 years later everything changed as the Regency style brought with it a complete disregard for anything uniform. Belvoir Castle in Leicestershire is a Regency palace masquerading as a castle. It was built by the 5th Duke and Duchess of Rutland on the site of an ancient fortress. Like Kedleston, Belvoir had many rooms for entertainment, but here they are in contrasting styles. From this Gothic hallway we can pass into a Roman-style dining room or on the opposite side to a Rococo saloon. Each room is decorated in a style suited to its purpose. At Kedleston paintings had been part of the decoration. Here at Belvoir there’s a picture gallery, looking very much like an art gallery today. Pictures were hung to be seen and appreciated, but this was also an important social space. However, the biggest public room is this splendid Regent’s Gallery. It is opulently furnished in a mixture of styles that sums up the Regency period. 70 years after Belvoir a new type of country house had emerged. The coming of the railways made it possible for the wealthy city-dwelling middle classes to build houses in the country. But what did they build? Inspired by an ancient farmhouse, our last house is Standen in West Sussex. It was built by James Beale, a successful London solicitor. Standen was simply a weekend and summer retreat, not an expression of vast landed wealth and power. It is built in an informal mix of styles and materials, almost making it seem as if it had grown gradually over the centuries. The inside feels like this too. The different styles in each room blend into an overall effect of comfort and domesticity. The furniture includes everything from genuine antiques to reproductions. The interiors relied for decoration on Morris wallpapers and textiles. Some of the furniture was also designed and supplied by Morris & Company. But the appearance of age was deceptive. For Standen, like the other houses we have seen, was built with all the latest conveniences. There was an extensive and well equipped service wing, garaging for cars and even electric light. At Standen there are no more state rooms, all the rooms were used both by the family and their guests when they came to stay. Beale’s wife, Margaret, planted the informally designed garden. It compliments the house and harmonises perfectly with the surrounding countryside. Unlike the houses we have seen before, land was not the driving force behind Standen. It was a house in the country rather than a traditional country house.

12. Made In by Cristina De Middel

  • Published: 2012-06-27T15:03:57+00:00
  • Duration: 240
  • By DEVELOP Tube
Made In by Cristina De Middel

A Slideluck Potshow London/DEVELOP Tube creative collaboration - Made In by Cristina De Middel: Everybody seems to agree about the future of China. Everybody is staring at the fantastic growing of a nation that will soon ( 2016, some say) turn into the leading economic power of the world. The human right watchers, the environmental concerned and the demographic experts hardly get to raise their voices upon the optimistic and gentle vision offered by the market gurus that claim the Chinese example as the model to follow in order to overcome the world´s crisis. Still, very little is known, due to censorship, about the generation that will soon be in charge of this leadership. Suffering the strongest social, academic and professional pressure in the history of their country, Chinese teenagers struggle to find their place in a society they hardly understand. Unable to find answers in their communist grown parents, facing the new challenges designed specifically for them as future leaders, there must be a reason for suicide being the major cause of death between Chinese teenagers. Based on the observation of the extremely interesting and symptomatic routine of the Chinese youth, this essay tries to convey an honest approach to the society they live in. The leisure culture, the competitive race from sports to college, the requirements of a family that has invested their little money and huge hope in raising a modern champion, the traditional social bindings and the complex personality of only child that know little about generosity and solidarity is, from my point of view a time bomb. I have been working as a photojournalist for almost 10 years in daily press and have collaborated with different NGO´s documenting projects around the world but I've always been attracted to non-classical ways of story-telling. With this essay I take a step forward in my conviction on the idea that explicit, beautiful and literal images have little room left in the future of serious reporting with the current crisis of the media. I bet on the subjectivity and the opinion-based stories as I engage myself on documenting my presumed reality rather than the Capital Letters Truth I do no trust anymore. And this is what I mean when I say “honest approach”. “Kung Fu” refers colloquially to any individual accomplishment or skill cultivated through long and hard work and seems to be present in modern Chinese society more than ever. De Middel's personal and professional work for newspapers and NGOs has been recognized by the National Photojournalism Prize Juan Cancelo (2009), Fnac Photographic Talent (2009) and the Humble Arts Women in Photography Project Grant (2011). She has an MA in fine arts from University of Valencia, Spain (2001), an MA in photography from University of Oklahoma (2000) and a postgraduate degree in photojournalism from Universitat Politécnica de Barcelona, Spain (2002). ********************** As part of a creative collaboration between Slideluck Potshow London and DEVELOP Tube, Erica McDonald has made a selection of the stories presented in London in the 2012 SLPS edition, to be spotlighted on DEVELOP Tube. The artists selected are: Alexander Sedelnikov, Cristina de Middel, Luca Sage, Melissa Cacciola, Paul S. Amundsen, Pierfrancesco Celada, Kirsty Mackay, Claudia Mozzillo, Alvaro Laiz. Slideluck Potshow (SLPS) is a 501c3 non-profit organization dedicated to building and strengthening community through food and art. SLPS operates multimedia slideshows combined with potluck dinners in about fifty cities around the world. SLPS London on Facebook: and on Twitter: @SLPSlondon DEVELOP Photo on Twitter: @DEVELOPphoto This album is part of the DEVELOP Tube Channel which can be found at DEVELOP Tube is an educational resource which features interviews, profiles, lectures & films about photojournalism, fine art photography & documentary photography.

13. dance/ ...indigo folio leaves (with poem)

  • Published: 2011-04-18T06:01:51+00:00
  • Duration: 183
  • By Brenda Clews
dance/ ...indigo folio leaves (with poem)

A dance that is creative movement, a moving meditation. Brenda Clews: prose poetry, dance, video. Music: José Travieso's track, 'Monster,' on his album, "No More Faith":​index3music_10nomorefaith.html Music ...enters your backbone, joints, plucks the cartilage holding you together. Music is the moon of the red tides of your bloodstream. Drift to and fro, a willow tree, or sway, bend, a flamenco, stretch, purple morning glories on the vine, jump. Sway your hips, delta of fiery flow. Express yourself, woman. No-one is watching. Say it all. The lyric travels tenderly through your wrist, a memory of the wind on the hill. You are an instrument of the musician who is absent, gone. Whose music plays on; who does not know you exist. Orphean muse. Twirl on the floor, the beat in your ankles, room spinning, see the canvas walls, luminous see the sun, moon, stars that are always there. Spin on the clock turning. Give everything. Wanton woman. Harlot of the night. Mother of angels. Insufferable radiance. Black hole of emptiness. Sweet moan nectar. Mystery dangles like your silver bracelets, the ghosts are present. Approach yourself by disappearing. Undulate your liquid bones. Beautiful sensuality. Seek invisible illumination in your writhing steps. Leave time, transform in your multiplicity, a seer searching the spheres. Manifest your dreams. Shake them out of the air to materialize before you like light forms. Shimmy, wet sweat, a flag in a wind storm. Thunder the floor. Witch, werewolf, Goth beauty, fragile starchild, cyberpunk, pull the sky down. Sway those hips, woman. Sway them until you ignite. Dance with your ineffable muse. Just, dance. I pull purple veils over my vision, indigo blue silk lights and shadows. Listen: dance on the stage of your imagination. © by Brenda Clews, 2011

14. Monica + Anu - Same Day Edit

Monica + Anu - Same Day Edit

With all projects, it is our intent that we should meet the bride and groom first and foremost to ensure that we understand their vision and that they are comfortable with our work and our creative aspirations. However, in Monica and Anu’s case, we had to settle for meeting just the bride initially, along with her father and uncle. Considering that Monica had already seen our work at another wedding event and was eager to have us cover her own wedding, the contract was settled straight away. After that, a date was agreed upon when we could meet up with both bride and groom, since Anu was unable to make it to that first meeting. Anu is by far one of the most carefree grooms we’ve ever encountered. If our initial meeting wasn’t indicative of this fact, Anu’s disappearing act on the wedding day certainly was. Our team of cinematographers and photographers could not locate which room he was staying in at the Royal York Hotel and it seemed that no one else knew either. After about 45 minutes of fruitless searching, Monica began to panic and our team began to get the jitters too thinking that this would be a first in all our experience. But we’re glad to say that all such concerns were baseless. Better yet, we managed to capture the phone conversation between Monica and Anu, once Monica had finally gotten a hold of him. (It was quite the conversation and we’ve no doubt that the footage we captured will be a source of good laughs for years to come). The wedding was one of the most beautiful outdoor ceremonies we’ve covered. It was held at the Liberty Grande and was followed by a visually riveting reception at the same venue. Warm Congrats to the Couple: Cheers!

15. ° TELEGRAM FROM SRI LANKA ° ·· a visual travel film ··

  • Published: 2013-12-19T14:19:54+00:00
  • Duration: 406
  • By p-your vision.
° TELEGRAM FROM SRI LANKA ° ·· a visual travel film ··

this trip was long overdue for all of us. since migrating to canada when i was 3, i haven't been back. so my wife and i travelled back to our birth country, sri lanka, last year in 2012 for our late honeymoon and vacation. when we were planning the trip, everyone had been warning me not to film - it was all due to the recent end of the civil war. what made it worse was that i carried a monopod - it gave people the impression that i was holding a "weapon". So to be on the safe side, i refrained from shooting people - which i totally regret. my wife and i flew out mid april and our siblings joined us 2 weeks later. all 6 of us met up in colombo before we headed out to experience the whole country. while stayin in wellawatta, colombo - we bunked in a pretty cool penthous. there were 3 balconies, each the size of living rooms. the penthouse gave us a 360° view of wellawatta. we had visited the colombo zoo, it was a real bad experience - all the animals were in such bad shape as you will see in some of the clips. they were starving and their environment was horrible. i hope that gets fixed soon. we started off our journey with our travels to jaffna. the highways are fantastic - very clean and smooth. we rented a 9 person van with the driver who stayed and drove us around for 4 weeks out of the 5 weeks we stayed. on our way to jaffna we stopped at vavuniya, where my dad is from, and had a bite to eat a local food stall - what an experience. our napkins and plates were old newspapers but we quickly adjusted to it. after our brief stop we continued on our way to jaffna but we had a military check up before crossing into it - everything was smooth. we stayed in achuveli where my uncle lives with his life as a small farmer. this village made us recognize how much all the small things matter - like every second day is when they get electricity in the evening. i got help my uncle bring the goats home from his farm after they got to roam around and eat - he raises them and sells them for income. we spent 3-4 days there and continued on our way to nuwara eliya, where we found a house online. it had a fireplace, that was definitely a must as it was a cold there. did some small shopping and checked out the tea estates. we quickly made our way to our next stop to kandy but this time we took the train and met our driver at the kandy train stop. this was a beautiful experience - anyone who visits sri lanka should make this trip on the train. our next lodging in kandy was also an online find - it was on trek to the top of a mountain - took 30mins to drive up the hill every time. this spot was perfect for some timelapses. we had a cook come with the lodge - he was fantastic - made some awesome authentic sri lankan cuisine. our rooms had some mesmerizing views. one of our favourite spots in kandy was the pinnawala elephant orphanage - such an eye opening experience. baby elephants play fighting, the trainers bathing them... all up close. we then make our way over to my birth city, trincomalee. this time we ended up choosing a resort along the nilaveli beach area. since it was a new resort - we ended up being the only ones there and had the whole resort to ourselves. one day we decided to go out on a boat and visit the coral reefs and experience some local fishing - at some spots it looked like the fishermen were walking on water. i got to visit the temple where my mother and father got married, koneswara temple. our last stop was to yala - i and my wife decided to stay at a small beach side lodge. our room was a hut made out of clay and had a beautiful view. the next morning we visited yala national park, it is known for leopards but unfortunately we did not get to see one but we did encounter gators, buffalos and elephants. this trip was definitely an unforgettable one and i hope it gives justice to this travel film. wishing everyone a warm and safe holiday from p-your vision. GEAR: Canon 60D Manfrotto 561B monopod Cinevate FLT Tokina 11-16 Nikkor 50mm, 85mm and 135mm

16. Across the Room

Across the Room

Jim Harkins is a FBI agent living the 1950s American dream: a beautiful wife, a beautiful home, the beautiful image. However, Jim becomes convinced that his neighbor, Sam, is a communist spy and has plans to destroy the foundation of Jim's vision of America. He invites Sam and his wife over for a dinner party where he plans to expose his suspicions. Sam, a French immigrant who came to the United States for a better life after the consequences of World War II, portrays himself as a saint to everyone he meets. He is willing to everything he can to help others despite what others may think. Meanwhile, Jim's paranoia comes into conflict with everyone else in the room, including his own wife. But Jim continues to openly question Sam's loyalties and lifestyles, but Sam defended by the other people attending the dinner party. This frustrates Jim to a breaking point and brings anxiety to the attendees. Synopsis (French) Jim Harkins est un agent du FBI vivre le rêve américain des années 1950: une belle femme, une belle maison, la belle image. Toutefois, Jim devient convaincu que son voisin, Sam, est un espion communiste et a des plans pour détruire le fondement de la vision de Jim d'Amérique. Il invite donc Sam et sa femme au cours d'un dîner où il prévoit d'exposer ses soupçons. Sam, un immigrant français qui est venu aux États-Unis pour une vie meilleure après les conséquences de la Seconde Guerre mondiale, se dépeint comme un saint à tous ceux qu'il rencontre. Il est prêt à tout ce qu'il peut pour aider les autres en dépit de ce que les autres peuvent penser. Pendant ce temps, la paranoïa de Jim entre en conflit avec tout le monde dans la salle, y compris sa propre femme. Mais Jim ne recule pas, il continue de s'interroger ouvertement la loyauté et modes de vie de Sam, mais est défendu par les autres personnes présentes à la soirée. Cela frustre Jim à un point de rupture et apporte l'anxiété aux participants. This film is property of the filmmaker and Isarno Productions. Distribution, invalid claims of ownership, or any use of the film that is not of the director's consent is strictly prohibited.

17. Reimagining the American City: A Panel Discussion

Reimagining the American City: A Panel Discussion

Friday, November 14 / 5:00pm "Reimagining the American City: a panel discussion on the occasion of the exhibition Freedomland" Princeton University School of Architecture, Room N-107 Keith Krumwiede's Freedomland is the latest in a long line of visionary plans for American living. It is an experiment in reconciling the seemingly incompatible needs and desires that define our current economic, environmental, and, most importantly, political climate. In one bold, absurdist move, Freedomland colonizes the super grid that blankets America, attempting in the process to solve every problem, please every citizen. Like the work of a benevolent (or perhaps delusional) dictator, it seeks to accommodate every wish, every desire, no matter how contradictory and to combine them in a master plan that sets out a beautiful, if seemingly naïve, vision for a better, more harmonious world. Freedomland is a fiction, a work of architectural satire with no pretense toward implementation. In as much as it is the bastard lovechild of Frank Lloyd Wright and Le Corbusier—think Broadacre City meets the Ville Contemporaine with a dash of Ebenezer Howard’s Garden City thrown in for good measure—there is a key difference. It builds its grand vision from the basic, eminently American unit of the single-family house, working up and out by uploading conflicting desires and visions to clarify the issues—socially, environmentally, and, ultimately architecturally—that confront us at this particular moment in time. Guests: Albert Pope | Rice University Ana Miljački | Massachusetts Institute of Technology Fabrizio Gallanti | Princeton Mellon Initiative in Architecture, Urbanism and the Humanities Keith Krumwiede | New Jersey Institute of Technology Martin Felsen | UrbanLab Stan Allen | Princeton University ©Princeton University School of Architecture, 2014

18. 240 STUDIO Shoots 360 degree product photography

240 STUDIO Shoots 360 degree product photography

240Studio offers every imaginable amenity for your commercial production. From digital capture in 360º to a production staff who can help build your sets and bring your vision to life. 2 separate 25' shooting bays 20' Ceilings Private dressing room 2 Make-up stations Client lounge Producers office Conference table Projector & Screen Props staging station Garment rolling racks 2 Professional garment steamers Fully equipped commercial kitchen Catering / dining area Private bathrooms 2 blocks from beach Wireless Internet Plenty of parking The Gear: All of our studio rentals- not only for castings, but with every booking- include a generous selection of basic grip, including C-stands, sand bags, apple boxes, and foamcore V’s. We can also provide lighting packages, capture computers and displays, and even cameras and lenses. Everything you need is already here. Whether you simply need a beautiful, professional workspace, or want the hassle-free experience of our turn-key service, give us a call so we can create a custom package for your next shoot.

19. Preview Clip from Fritz Lang's DESTINY on MOD DVD!

  • Published: 2016-05-16T20:33:11+00:00
  • Duration: 109
  • By Flicker Alley
Preview Clip from Fritz Lang's DESTINY on MOD DVD!

In this otherworldly vision from director Fritz Lang (METROPOLIS), the Woman (Lil Dagover) transcends this plane of existence and encounters Death personified (Berhhard Goetzke) in DESTINY (1921), available now on MOD DVD: This beautiful Gothic fantasy was inspired by a childhood dream of its writer/director Fritz Lang, who first gained world recognition with the film’s triumph. In a middle-European village a century or more ago, Death (Berhhard Goetzke) takes a young man (Walter Janssen) just before he is to be married. His lover (Lil Dagover) seeks out the Death figure in a room filled with thousands of burning candles, each representing a human life. Filled with pity for her, he promises to return the young man if she can save even one of three lives about to flicker out. Otherworldly atmosphere is created by extraordinary, bizarre sets, Gothic lighting and eccentric characters combined with spectacle and camera trickery astonishing for its time. With its many magical and haunting images, DESTINY still possesses real power to impress the imagination. Said another great director, Luis Bunuel, “Fritz Lang’s DESTINY opened my eyes to the poetic expressiveness of the cinema.” Its world success established the omnibus form as a method for presenting short horror tales and influenced films as diverse as Waxworks, The Thief of Bagdad, Dead of Night and Tales from the Crypt. Order now on MOD DVD:

20. Tammy Stone - Clara Vista - Onefund Costa Rica

  • Published: 2014-12-11T05:20:07+00:00
  • Duration: 233
  • By Dapp
Tammy Stone - Clara Vista - Onefund Costa Rica

Support Clara Vista and Tammy Stone Meet Tammy Stone and Clara Vista Through Tammy's direction, Clara Vista has achieved much with very little in the way of finances. Her ability to rally the people of Venado and communicate her vision leads to a shared ownership. It empowers community members to develop Venado into a beautiful community planning for a bright future. What began as a few simple projects within Venado 7 years ago, turned into a lifelong passion of Tammy’s to study and encourage sustainable community development. In Venado and beyond. Tammy’s family first came to Costa Rica following her father Gary’s pursuit of surf. Falling in love with the clear view from a hill overlooking the Pacific, they built a home. A casual exchange between Gary, fixing damaged surfboards for youth who promised to keep local beaches clean, grew into much more through Tammy’s dedication. It grew into Clara Vista. For Venado, Tammy’s guidance and planning meant that they were taking control of their future as the world around them changed. It meant environmental clean up and recycling; a new well that has sustained recent droughts; a beautiful community center that is changing the lives of the local children. The center creates a hub for adults and teenagers through dance, soccer (of course), surf, and a soon to be created computer room. Tammy has been the driving force behind the community’s newly proactive efforts in creating a positive and empowering environment for all. Future plans for a Salon Comunal and training full time staff are underway - Clara Vista has done a lot with a little and now needs your help to continue!