severak
17.12.2019 11:48:34
Kozákov / Mimoň, by Aran Satan
from https://aransatan.bandcamp.com/album/koz-kov-mimo
severak
15.12.2019 00:07:03
FULLER / ARTIST
Exploring the culture and identity of places. His drawings form intricate familiar worlds that result from purposeful wanderings and exploration.
severak
12.12.2019 10:21:26
V nebi mě nechtějí, v pekle se mě bojí, tak pořád závodím, říká čtyřiasedmdesátiletý autokrosař Hošek
Papuče a fajfka? Kdepak jedna z největších legend českého autokrosu čtyřiasedmdesátiletý Jaroslav Hošek pořád závodí a prohání věkově už i svoje vnuky doma i v Evropě. „Autokros, to jsem já," řekl kdysi v nadsázce. Měl pravdu. Letos jede v bugině, samozřejmě vlastní konstrukce, už šestačtyřicátou sezónu. Vyhrál všechno, co se vyhrát dalo, na autokrosových tratích je suverénně nejstarší, na konec kariéry ale zdaleka nepomýšlí.
severak
11.12.2019 12:31:32
Gay Dating Apps Promise Privacy, But Leak Your Exact Location
Researchers in Kyoto demonstrate for WIRED how they can precisely track the locations of people using Grindr, Hornet, and Jack'd despite features meant to hide them.
slovodne
10.12.2019 16:22:31
Ardour / apokalypsa / Šakal
v Po:- napadl sníh a autobus měl zpoždění
- objevil jsem Ardour
v Út:
- netuším, co jsem dělal ale mám pocit že bylo hezky
ve St:
- dopoledne jsem měl asi takovouhle náladu
- večer se konala (v Trafice) Obýváková apokalypsa, viděl jsem se s Markétou a když jsem odcházel měl jsem pocit, že se něco brutálně pokazilo
- koupil jsem si knihu Den pro šakala a začal jí číst
ve Čt:
- jsem zaspal, v ranním spoji jsem slyšel kohosi nejmenovaného mluvit o pracovních táborech a na závěr jsem přejel na kolbenku
v Pá:
- večer sraz se Včelkou
- skončil hypermúr, tak jsem si dal knedlíčky
- večer jsem se Soyboyem kupoval Ardour a ukázalo se, že nejjednodušší a nejrychlejší způsob jak nabít paypal je donate na Twitchi
+ So long farewell je teď oficiálně moje nová koleda
v So:
- jsem sbíral síly čtením a pak sledováním Šakala
v Ne:
- uklízení u S&N
- pečení cukroví u Geoložky
- večer se (konečně) ozvala Markéta
+ Remind me
- celý týden jsem měl problémy se spánkem a náladou a byl hypermúr
severak
10.12.2019 12:51:42
How William Gibson Keeps His Science Fiction Real
Midway through his career, the inventor of “cyberspace” turned his attention to a strange new world: the present.
severak
10.12.2019 09:25:20
Kellnerův Home Credit platil kampaň na podporu rudé Číny. Využil experty i novináře | Aktuálně.cz
PR agentura placená Home Creditem nejbohatšího Čecha podle dokumentů, které Aktuálně.cz získalo, ovlivňovala média, politiky i experty.
severak
9.12.2019 22:32:20
La fabrication de Moscow Diskow (Telex)
from https://www.youtube.com/watch?v=QjLzj8HQqh8
severak
7.12.2019 20:11:59
House: The Housemaidens
A coming-of-age story about a clique of teenage schoolgirls who will never grow old and a demon spirit in the guise of a spinster who was never young, Nobuhiko Obayashi’s eye-poppingly demented, jaw-droppingly inventive House is 1970s Japanese pop culture at its most delightfully unhinged extreme—a midnight movie about nubility and dismemberment marketed to a matinee audience of adolescents and “office ladies,” a predigital maelstrom of cinekinetic visual ingenuity produced during one of the most tepid seasons in late twentieth-century Japanese filmmaking, a modern masterpiece of le cinéma du WTF?!, originally released on the bottom half of a double bill with a treacly teen-idol romance called Pure Hearts in Mud and sporting a tagline that exhorted viewers to witness “How Seven Beauties Were Eaten!” Disney had his seven dwarves, Kurosawa his seven samurai. For Obayashi (with the help of his eleven-year-old daughter, Chigumi, who provided many of the story ideas), it was seven teenage damsels in distress—Carrie raised to the seventh power, Suspiria spiraling ever upward into some psychedelic seventh heaven. House is a film that must be seen to be believed, and then seen again to believe that you really did see what you think you saw. A haunted and apparently hungry piano devours a girl named Melody, first finger by finger, then chunk after jagged chunk of her naked teenage torso; a Louis Wain–like portrait of a fluffy white bakeneko (ghost cat) redefines pussy power when it begins spewing more blood in a tiny four-mat room than The Shining’s elevator does in the entire Overlook Hotel; a chubby chick nicknamed Mac (short for stomach) seduces a watermelon away from a watermelon-shaped watermelon vendor (who’s actually the composer of the film’s soundtrack, and the voice behind the lower-than-Lurch enunciation of the film’s title, spoken aloud over the animated opening credits as if announcing, through a ragged loudspeaker, the beginning of a haunted-house ride at the fair); and before you can say “Sigmund Freud,” the girls’ favorite hunky schoolteacher is transformed into a man-size bunch of bananas. And that’s just for starters: in Obayashi’s House, there are many, many rooms . . . What Toho Studios was hoping for when it hired Obayashi was a homegrown Jaws: a locally produced summer movie roller coaster sufficiently thrill-chocked to at least partially deflect the ongoing onslaught of Tokyo-box-office-topping New Hollywood hits from Messrs. Spielberg and Lucas—something fast and loud, with tons of fun packed between screams. In the Japanese cinema of the mid-1970s, “fast,” “fun,” and “homegrown hit” were in short supply. Adults-only pinku eiga (pink cinema) had taken over, and even master genre filmmakers like Kinji Fukasaku found themselves struggling to sustain the successes of the yakuza and other action flicks that had proved so lucrative earlier that decade. The radical glories of the country’s 1960s New Wave had managed to last well into the early 1970s (thanks mainly to the independent funding and screening initiative known as the Art Theater Guild, where Nagisa Oshima would produce such form-shattering works as Diary of a Shinjuku Thief and The Man Who Left His Will on Film), but by 1976, the most trailblazing new Japanese film was the one no one in Japan was allowed to see: Oshima’s sexual-passion-as-radical-politics treatise In the Realm of the Senses, whose shameless thickets of pubic hair ran head-on into the nation’s final visual taboo and which remains to this day banned in its country of origin. (Meanwhile, former Nikkatsu action director Yasuharu Hasebe’s ultrasadistic rape fantasia Assault! Jack the Ripper!—which strictly adhered to that quaint follicular technicality—went on to become a major pinku eiga box-office success that year.) The year 1977 came and went without a feature film from Oshima or Shohei Imamura. One voice from the past made a not particularly successful return to the screen: Seijun Suzuki, with A Tale of Sorrow and Sadness, a decade after Nikkatsu had famously fired him; another, Akira Kurosawa, continued his forced retirement, having been deemed unemployable. For the mainstream, it was two more in director Yoji Yamada’s seemingly endless succession of Tora-san films, which had come to typify Japanese cinema of the era: homely homilies to the country’s small-town verities, told in heartwarming vignettes about the resilient cheerfulness of their titular traveling salesman, the indefatigable Tora, forever clad in fashionless polyester and trademark stingy-brimmed fedora, his salt-of-the-earth wooden geta tapping out a blocky clippety-clop as he sets off once again down some rustic highway for places all too well-known. And to top it off, Yamada had managed to fortify his Tora-san quota that year with the Japanese Academy Award–winning tearjerker (and pan-Asian box-office triumph) The Yellow Handkerchief—a film as far from any rebellious youngster’s definition of hip as On Golden Pond is from Easy Rider. But unbeknownst to most of the audiences packing theaters early in 1977 for Yamada’s dramas—or for the only other surefire box-office hits on the local horizon, a string of teen-o-centric romances starring seasonal sensations Momoe Yamaguchi and Tomokazu Miura (so identified with their status as a silver-screen couple that they were known simply as Momo-Tomo)—Nobuhiko Obayashi was already very much a filmmaker in their midst and of their moment, even if his first feature wouldn’t be released until later that year. A pioneering figure in the Japanese experimental film scene that sprang up at the end of the 1950s, Obayashi (born in 1938) had begun making short Super 8 movies in 1956, and soon became closely associated with fellow cineastes Donald Richie and Takahiko Iimura, with whom he would cofound the experimental film collective Film Indépendant in 1964. Obayashi’s 8 and 16 mm short films almost always centered on young women emotionally stranded between skipping rope and the skipping heartbeats of first love: sprightly and painstakingly pixilated visions of female longing, of adolescents forever distracting themselves from their imminent coming-of-age with quasi-carefree (and, under Obayashi’s percussively pianistic editing strategies, graphically dazzling) games of hopscotch and hide-and-seek, at once bewitched and bewildered by the mostly peripheral (though, as in his 1966 masterpiece Emotion, often somewhat comically and ominously vampiric) men hovering in their midst. Today, Obayashi remembers mainly the impact that seeing the first films of the French New Wave, particularly Godard’s Breathless, had on his and his compatriots’ sensibilities, although on the evidence of as early an Obayashi film as 1960’s Dandanko, Canadian filmmaker Norman McLaren, who’d been similarly experimenting with mixing hand-drawn and collage animation with live-action, often quirkily pixilated footage since the 1940s, seems equally to have had his (perhaps secondhand) influence. Whatever its inspirations, Obayashi’s implementation of a variety of “handmade” filmmaking approaches (not unlike some of A Hard Day’s Night director Richard Lester’s pop art stylings) seemed custom-designed for a certain strain of somewhat less than radical 1960s youth culture: his was a sensibility steeped in a romanticism far more Truffaut than Godard, and as politically and aesthetically muted when compared with contemporaries like Oshima as a Peter Max might seem in comparison with Robert Rauschenberg or Jasper Johns. No wonder, then, that Obayashi wound up in advertising—hired by a producer from the Dentsu Agency, after a screening of the filmmaker’s experimental works, to bring some of their giddy visual invention to the world of television commercials. (See writer Paul Roquet’s lengthy discussion of Obayashi’s career at midnighteye.com for further details of the director’s formative years and more.) What followed were among the most striking examples of celebrity-buoyed surrealism in the history of Japanese advertising: a succession of spots featuring stars as once glittery as Kirk Douglas and Sophia Loren, pitching everything from Hondas to hand lotion, and climaxing in the kitsch-classic collection of commercials for Mandom men’s deodorant starring a buckskin-clad Charles Bronson on horseback, galloping across John Ford’s Monument Valley, stopping only for a shirtless cool drink or to pinch his leathery squint toward epic sunsets, while American country singer Jerry Wallace confirms that “All the world / Loves a lover” with a saddle-smooth campfire croon. Both the Mandom song and the series of Bronson commercials became huge hits in Japan in 1970, long before House brought Obayashi mainstream fame, and it was a lesson in marketing synergy the filmmaker would never forget. Obayashi spent nearly two years preparing the narrative and commercial particulars of his feature film debut, first concocting House’s script from the collection of frights his preteen daughter suggested, then conspiring with the pop group Godiego (pronounced go-die-go, like the fourteenth-century Japanese emperor Go-Daigo) on the film’s assortment of pop ballads and searing synthesizer boogie, all in time for the soundtrack album to be released well in advance of the film. Care was taken, too, to season the film with timely cultural touchstones: here an appearance by a Tora-san look-alike, there a ringer for actor Bunta Sugawara in his then popular Truck-yaro (Bastard Trucker) guise; there’s even a reference to Pure Hearts in Mud, the Momo-Tomo romance to be released as the surefire A feature to House’s marketing gamble B. As for the myriad stylistic flourishes (faces that melt into flame, a disembodied head hungrily nibbling on an unwary butt) that make Obayashi’s film so visually overwhelming, it was as if the director had been preparing for them his entire experimental filmmaking and advertising careers. The story of a motherless teenage girl named Gorgeous (Oshare: “fashionable”) who, disappointed by the imminent remarriage of her soundtrack composer father (“Leone said my music was better than Morricone’s”), precipitously cancels their planned summer vacation together and instead sets out with six of her schoolmates (Melody, Mac, the bespectacled Prof, the ever dreamily fantasizing Fantasy, the soft-spoken Sweet, and the fit and fearless Kung Fu) for a visit to her long-unseen maternal aunt’s house in the countryside . . . But who cares about the story! House is a film far more focused on the telling than the tale, haunted by more formalist freak-outs, sudden excursions into time-warping slow motion, and ludicrously lysergic, analog-age matte effects than any other twenty Japanese films released that or any other year. The narrative, in its essence, is in fact a rather well-worn one in Japanese folklore and horror movie culture, familiar from such films as Kaneto Shindo’s kabuki-bound Black Cat and Nobuo Nakagawa’s lurid Ghost Cat Mansion. Gorgeous’s aunt (played by veteran screen actress Yoko Minamida, who’d appeared in Kenji Mizoguchi’s Princess Yang Kwei-fei and Imamura’s Pigs and Battleships) turns out to be a cross between a Kanto Plain Miss Havisham, left to wither at the wedding altar when her betrothed (played in flashback by Tomo himself) went off to war, and a classic half-feline, half-harridan Japanese monstrosity—a kaibyo—a vengeful soul capable of constant transmigration between the handy vessels of woman and cat. What makes Obayashi’s film so thoroughly extraordinary is twofold: first, the virtually limitless visual variations and sound design fever schemes (cocks crowing, babies wailing, piano glissandi and thunderous waves crashing on an unseen shore) with which he transforms the story’s traditional elements (which go beyond those bakemono/kaibyo components to include, among other things, various evocations of ukiyo-e illustration master Hokusai’s famous ghost-headed Oiwa lantern), to such a startling degree that Japanese audiences in the 1970s, as do audiences around the world today, found the film fresh and utterly new; and second, the obvious glee Obayashi takes in pushing the roricon (Lolita complex) richness of his subjects—a bevy of tender beauties, most of whom appear in increasing stages of undress as the film progresses—as he torments and terrorizes them. Not since the work of outsider artist Henry Darger, who ransacked children’s books to create epic collage tapestries depicting armies of oft-naked girl warriors in battle, have so many magnificently demented possibilities for simultaneously empowering, imperiling, and eroticizing pubescent young women been gathered so dazzlingly together in one place—and never at such a speed-demon pace!House was a hit in Japan, and though it never attained Jaws-size success, it did secure Obayashi’s place in the Japanese filmmaking firmament, where he remains to this day, a still popular director of best-selling-novel and manga adaptations, many of which center on schools full of superpowered students who can warp time or swap bodies with a best friend of the opposite sex, all in the interest of a more magical coming-of-age. (So recognized are Obayashi’s successes in Japan that in 2009 he was honored with the badge of the Order of the Rising Sun, an imperial recognition for distinguished Japanese and non-Japanese alike; Clint Eastwood was so honored that same year.) He even made a version of the Abe Sada story, upon which In the Realm of the Senses is based—though in Obayashi’s simply titled Sada, our heroine’s sexual extremism naturally finds its roots in a melodramatically charged manga moment of teenage trauma, which leaves the famous emasculatrix scarred for life. But even if, over the forty-odd features he’s made during the past thirty-plus years, Obayashi has yet to again attain, or sustain for the length of an entire film, the heights he reached in House, the creaking door he so creatively opened onto an even creakier genre—that hoariest of chestnuts, the kids-in-a-haunted-house teen pic—can never be shut: Obayashi rocked the House.
severak
6.12.2019 15:29:48
Why SNOWPIERCER is a sequel to WILLY WONKA AND THE CHOCOLATE FACTORY:
from https://www.youtube.com/watch?v=jEX52h1TvuA
severak
5.12.2019 14:44:03
Occultist father of rocketry 'written out' of Nasa's history
Jack Parsons was a founding member of Nasa's Jet Propulsion Lab, with some calling him one of the 'fathers of rocketry', but you won't find much about him on Nasa's websites
severak
5.12.2019 10:18:49
‘Dear Satan’, An Animated Short About a Girl Who Accidentally Writes Letter to Satan Instead of Santa
from https://laughingsquid.com/dear-satan-animated-short/
severak
5.12.2019 09:57:42
Search: bookiddieheilgymnastik00jent | Flickr
from https://www.flickr.com/photos/internetarchivebookimages/tags/bookiddieheilgymnastik00jent
severak
4.12.2019 10:53:29
Helio Workstation by Peter Rudenko - MIDI Editor / Pattern Sequencer Standalone Application
Helio Workstation by Peter Rudenko (@KVRAudio Product Listing): Helio is a lightweight free music sequencer for OS X, Linux, Windows, iOS and Android. Aimed to be a perfect sketching tool, Helio features high-performance core, linear-based sequencer with clean interface, integrated version control providing intelligent synchronization between devices, saved undo history, translations to many languages and more. And it's free and open-source. {See video at top ...
severak
4.12.2019 10:35:44
Seismic by Syntonica - Synth (Modular) VST Plugin
Seismic by Syntonica (@KVRAudio Product Listing): Wave Hello and Say Goodbye.... ...Goodbye to all those other boring wave-based synths! Welcome to Seismic, where everything is a wave. From oscillators to LFOs to envelopes. Seismic is fully modular using Nodes to combine waves in the usual and not-so-usual ways. Combine nodes and waves to output your final sound. VST available for Mac and Windows, 32- and 64-bit, all in one download. Drop by, dow...
severak
4.12.2019 10:11:38
One Track Orchestra by make some music now! - Orchestral VST Plugin
One Track Orchestra by make some music now! (@KVRAudio Product Listing): This is a simple and free VSTi plugin created to help you sketch/prototype your orchestral arrangements and productions in an easy and fast way. This instrument puts a complete orchestra on a single track of your DAW (so you don't need to create additional tracks). You can add strings, brass, woodwinds and even percussion at the same time, using only one MIDI channel. The sounds of the different i...
severak
4.12.2019 10:01:03
Sitala by Decomposer - Drum Sampler VST Plugin, Audio Units Plugin and Standalone Application
Sitala by Decomposer (@KVRAudio Product Listing): Sitala is a free drum plugin and standalone app. Sitala's beauty is its simplicity: its six knobs allow you to quickly explore the sound space and dial in just the sound you had in mind. Controls: Shape: Adjust attack, length and sustain of your sounds while the overall volume remains constant. Compression: Make sounds punchier with more sustain. Automatic gain makeup maintains the overall volume...
severak
3.12.2019 15:02:02
Using "Bona-Fida" reversed engineered Headers to distribute vst2 "like" plugins
Dear fellow devs, i just started out developing audio plugins and planning on starting a business with that. Since a few days i am sleeping bad because i found out that distributing VST2 PlugIns will be illegal for me as i didn’t sign a license agreement with Steinberg before October 2018. This would be a major drawback for any new business trying to sell audio plugins, since one of the most used DAW (and my beloved favourite) didn’t support VST2 until recently in their current major version. ...
severak
3.12.2019 11:44:08
Aldous Huxley Foresaw America’s Pill-Popping Addiction with Eerie Accuracy
from https://lithub.com/aldous-huxley-foresaw-americas-pill-popping-addiction-with-eerie-accuracy/
severak
3.12.2019 11:20:37
30 years after the ‘Western HIV plague’ hit, this tiny community is still coming to terms with the devastation and lost children
World Aids Day 2019: In 1988, a children's hospital in the provincial town of Elista became the epicentre of the Soviet Union's first ever HIV crisis. A total of over 270 children were eventually diagnosed with the virus– but for the families it was only the start of a savage injustice, writes Oliver Carroll
slovodne
3.12.2019 11:00:35
CÉSAR A CHARLES
(aneb fakt nevím, co si o tom mám myslet)Někdy v průběhu minulého týdne se u nás na vesnici objevil mimozemšťan. Teda, jenom na plakátě, ale i tak vás to potmě při venčení psa celkem vyděsí, když se otočíte a za vašimi zády je plnobarevný šedivák ve skutečné velikosti. Na jednom plakátu emzák, na druhém nějaká osoba ležící nosem ve slámě a to vše polepeno nápisy @CÉSAR&CHARLES, jinak žádná vodítka.
To nicméně není pro spisovatele detektivek žádná překážka. Zavináč napověděl, že mám hledat na Instakrámu a skutečně - najednou se přede mnou objevil profil něčeho, co se tváří jako začínající značka oblečení. Aha, takže guerillová kampaň, to dává trochu smysl.
Nicméně zvědavost je zvědavost, tak jsem ještě zkoušel hledat, kdo za tím stojí. Našel jsem nějakou Danielu Smržovou, která jim to pravděpdobně nafotila (je módní fotografka nebo tak něco). Jinak zná Google jenom s.r.o.čko stejného jména s přídomkem clothing. V tom figuruje pár (podle jména pravděpodobně) francouzů s adresou v Sulicích - Hlubočince. Firmu založili už v roce 2016 a jeden z nich tu už delší dobu podniká, především v oboru pronájmu komerčních prostor a už má jednu firmu skoro totožného názvu.
Takže - dost možná, že tak skutečně jen perou špinavý peníze šediváci - jak vtipně podotkl ▮▮▮▮. Protože fakt nevím, kdo jinej by lepil plakáty propagující značku oblečení v zapadákovech, kde dávaj divočáci dobrou noc.
PS: přikládám jen obrázek, zbytak si kdyžtak dohledejte sami
slovodne
3.12.2019 11:00:08
Loesje / Vinyl hunter / Vlasovci / Zelený paprsek
v Po:- bylo ošklivo a měl jsem dost špatnou náladu
v Út:
- bylo hezky a měl jsem výrazně lepší náladu
- zdokumentoval jsem Césara & Charlese
- večer byla rozlučka s Janou
- potom jsem ještě stihnul závěr workshopu Loesje
ve St:
- těžko říct, co jsem dělal. Možná jsem se šel projít na sídliště Spalovna.
- v noci jsem patrně nahrával a pak objevil celý žánr outsider music (především The Shaggs)
+ Patient Zero of the selfie age: Why JenniCam abandoned her digital life
ve Čt:
- studoval jsem VST pluginy a kde jsou pražské hroby Vlasovců
- večer jsem šel na křest Vinyl huntera, kde bylo hrozně moc lidí, DJ, kterýho jsem si pamatoval z Eco a jedna slečna, která ztrácela hlas
+ V Bosně a Hercegovině protestovali plyšáci za svobodu shromažďování. Hlídali je dva policisté
v Pá:
- v práci jsem se kopal do zadku, tak jsem napsal dva VST pluginy (již brzy na Cabbage fóru)
- Toto taky proklepnul Césara a Charlese
+ Molchat doma se dostává do memů
+ Vliv turbofolku na formování a modifikaci identity v diasporálních komunitách s původem v bývalé Jugoslávii na příkladu postjugoslávských komunit v Rakousku - A co čtete po večerech vy?
v So:
- jsem prospal dopoledne, uklízel psí chlupy a pak jel (s mokrou hlavou) směr PRG
- tam jsem pobyl dvě hodiny/piva na narozeninách Johanky; oproti původnímu plánu tam ale nebyl nikdo, koho bych znal (kromě oslavenkyně)
- zato klubíčko se líbilo
- večer jsem s A&J koukal na Stranger things
v Ne:
- jsem prospal dopoledne (zdálo se mi cosi o výletě do hor za městem na jiné planetě a jakýsi sen s honičkou po městě plném tramvají)
- pak jsem se podíval na Krysy, opsal si akordy Vykradené Zuzky a pokračoval domů
- kde jsem pokračoval v uklízení
- a večer jsem viděl Zelený paprsek
▼ see more... ▼