Sleeps Sundays///We Stay Sick


Bears on Stairs - A 3D printed Stop Motion-Animation

The creative team over at London-based DBLG recently released this in-house animation titled Bears on Stairs that involved old school stop motion techniques paired with modern 3D printing. The painstaking process involved printing a sequence of 50 tiny sculptures which had to be photographed one by one over a period of 4 weeks—all for a mere two seconds of animation.

You guys should check out the video too!


My spirit is a frustrated and dejected waitress in a 90s alternative rock music video.

Totally Average Selfie (TM)

Totally Average Selfie (TM)

Being Gigantic remixes Lontalius covering Drake’s Connect. At the start there’s a very minimal drum beat and across the first two verses, Being Gigantic adds more parts to the machine until it’s quite busy and chaotic. At the second chorus there’s a great moment where the drums go from their busiest to a stripped back, but much more confident beat and this big bleary Drive-soundtrack synth line comes in and pulls the whole song together and it’s really gorgeous and I find it weirdly moving and the inside of my head sounds like that part of the song a lot lately.


This is almost total horseshit -  a lot of third-hand observations about social media, some of which are sometimes true about some things, wrapped around a really TERRIBLE example, a record that was the subject of passionate, sustained conversation among its main audience, with major ripples beyond. And maybe - just maybe - a 50something British white guy isn’t part of that audience, isn’t the best placed to judge how much “impact” the record had or how “important” it was to people. (Though simply by virtue of being on Tumblr this 40something BWG managed to twig that SOMETHING was up.)

No, the problem here - and I’m not even talking about Hepworth here, bad as the article is it’s a symptom, a symptom of something I suffer from too. An open letter to me, then.

The problem is that you hit a certain age and you stop doing the work. You assume that if conversation’s not happening amongst your ossifying set of professional contacts, it’s not happening anywhere. You imagine that your contributions are such that you will know what’s up by right, by licking a finger and sticking it into the air and sitting back down on your arse and re-typing something you once read about the internet.

Though, OK, “The revolution happened in distribution”, that’s a fair starting point. You can work from there. You can think about what that means for how stars present themselves, for how people become stars, for whether “singles and albums” are the best way of thinking about what a pop star does, about the art, the presence, “the content”. Though in this record’s case, there is content to spare. Maybe get specific and talk about how Beyoncé in particular is a really fascinating figure in this shift, coming up in the CD boom heyday and adapting (unlike almost any of her peers) partly by trying new things out.

What does it mean - just looking at the simplest, most public facts - that musicians dominate Facebook and Twitter fan scorecards, that music is so enormous on YouTube? You could take the analytic route - try and work out what the half-life of a song, or a video, is these days. Or you could take the journalistic route, find the people who Beyoncé means something to - something bad, something wonderful - and bloody ask them.

It’s not just lazy. It’s fine to get lazy. I can’t keep up any more, that’s just a fact. You don’t stop being useful - I hope! - you become more of a historian, turning your eye on the past a little more. Maybe use your experience as a scalpel on the times you lived through, not as a weapon against the present? No, fine, you don’t have to do that at all, if the present sucks people should say so. But not so ahistorically. When distribution shifts, exciting things happen. We can look at the history of radio, Dansette record players, sheet music, MTV, as evidence for that. Look for what’s changing. People aren’t mugs, or no more than they ever were. Look at why they care. Don’t trust yourself so much.

David Guetta, a rising D.J., sent Furler’s management 10 instrumental tracks, and Furler thought at first that she was writing a song for him to give to Alicia Keys. “The only track I liked was a guitar riff,” she says. “I typed into Google, ‘What is bulletproof?’ … I wrote ‘Titanium’ in 40 minutes.” Guetta tried to invite other hit singers to replace Sia’s demo vocal, including Mary J. Blige, but it was Katy Perry who advised him to leave it as it was. Perry says: “I had just come off ‘Firework’ and didn’t want to repeat myself. I have to balance out my anthems, or else I’ll just be a motivational speaker. I was like, ‘I think you’re crazy not to just keep Sia.’ ” Guetta followed Perry’s suggestion. Without telling Furler, he released it with her original demo vocal, and “Titanium” became a huge hit. “I was really upset about it, because electronic dance music is not my kind of music,” Furler says. “Of course, it turned out to help my career as a songwriter.”

the amount of subtle shade here is a bit mind-boggling (via katherinestasaph)

Knowing that everyone involved had barely suppressed contempt for everyone else involved makes early 10s pop seem a bit more intriguing.

(via tomewing)

This piece also includes the fact that Beyonce got “Pretty Hurts” because Katy Perry didn’t see the e-mail with the original demo for it, and thank god for that.


Geometric Reflections by Victoria Siemer

Also known as Withchoria, her graphic design work consists primarily of photomanipulation.

If that’s making you happy that’s brilliant. You know? People shouldn’t be so snobby. To say that “Beethoven is great but 2 Unlimited is crap” I think is rubbish because it’s just not that simple. It’s like saying “filet mignon is brilliant food but bananas are stupid to eat!” It’s not! You need all the different things.
One of my favourite Björk quotes (via cibomatto)


House for Trees by Võ Trọng Nghĩa Architects

The aim is to return green space into the city, accommodating high-density dwelling with big tropical trees.