Orange Piano Tour, Stefan Aaron [ pianist ]

Pianist Stefan Aaron is taking the art of concert piano to new heights—the kind of heights only achievable with a helicopter. The fourth stop in his worldwide Orange Piano Tour—in which he travels with the eponymous orange piano and plays it in increasingly bizarre locations—was the Munich Airport in Germany, where he premiered the song Munich Airport Soca. His helicopter-powered entrance was the most appropriate way possible to kick off an airfield show, besides riding atop an actual jet.

His Orange Piano Tour has taken him to the top a glacier of the Alphubel mountain in Switzerland, the Great Wall of China, and the Preikestolen in Norway.

Some work in progress screenshots for my parents’ b&b website.
Coding this has required a certain amount of delusional perseverance and a copious amount of copying. Somewhere between the hours of 3-5AM my brain achieves temporary codehisattva levels and I do many things that my puny normal mind has no capability of comprehending.

Gravity Stools (sculptures)Jolan Van der Wiel

The Creator’s Project documents:

The last time we checked in with experimental designer Jólan van der Wiel, he was making exquisite furniture with basins full of metallic clay, a few super-powerful electromagnets, and Earth’s gravity. His latest project is a stunning progression of the concepts he experimented with in Gravity Stools, using an extrusion process possibly influenced by 3D printing to magnetically transform the material into towering abstract structures.

After pouring the liquid clay through a slim nozzle, van der Wiel implements a giant, hanging electromagnet to shape the substance by drawing it up along the path of the specialized clay’s magnetic field. The clay builds on itself, held in place by the invisible force until it solidifies into uncanny (and awesome) shapes. The teeth-like forms almost look too alien to be crafted by human hands, and the series title Dragonstone feels totally on point, given the works’ fantastical qualities.

With this project, van der Wiel is exploring ways to use natural forces for human creation. “I see future potential in the joined cooperative forces of combining technology with natural phenomena,” he says on his website. “It is my belief that developing new ‘tools’ is an important means of inspiration and allows new forms to take shape.”

According to an interview with Wired, he sees a future in which magnets are a normal construction tool, just like cranes or even hammers. Instead of building a chair or a table, in the 22nd Century father-son bonding time might revolve around crafting one of these wild magnetic stalagmites instead.

Watch a video of the process called Magnetism Meets Architecture.


If 18 or 20 palettes wasn’t enough, I present to you: my 100 Palette Challenge! This is a collection of some of my favourite palettes from color-palettes and Adobe Kuler and I thought it would be really fun to have a huge variety of palettes to chose from

If you would like to participate in this challenge, I ask that you DO NOT repost this anywhere else, including deviantART; please REBLOG this instead! I have the challenge uploaded to deviantART as well, so please check it out there if you want to do it on deviantART!

Here’s some of the drawings I’ve done with a few of these palettes c:

This is a fantastic idea! I’ll definitely be doing some landscape sketches using these colour palettes.

Ctrl+Paint has got to be the single best art resource I have come across in the last month. It’s completely changed my perspective on - well, lol - perspective drawing (unintentional pun), etc and is a must-read guide for any aspiring digital artist/designer out there.

Amnesiac & M83 // HURRY UP WE’RE DREAMING, Tom Alex Buch
Tools: Maxon Cinema 4D, zbrush, Adobe After Effects CS

On Amnesiac, Buch writes:
— “I’ve worked on personal/concept album artwork inspired by the band before. I returned to the subject but to explore possibilities with motion. Dark and brooding, I loved crafting my own take on a classic. They defy convention and prove brilliant inspiration for my more experimental pieces. It’s powerful music, I wanted my work to match the tone. Amnesiac’s existing cover art is a weeping minotaur from greek mythology, it triggered idea’s for a few of the scenes. It’s a set of experiments, it began life as a music video and grew into what now is essentially a show reel for my darker work.”

Sublimely dark and innovative concept animation inspired by Radiohead’s iconic album Amnesiac - Tom Alex Buch’s ethereal work is seriously underrated. The entire short animation is a one-man job of directing, sculpting, producing, rendering, etc.

M83’s album cover reads like a lucid dream - pastel, translucent colours wash over a surreal landscape of blocky crystal sea-drops. The centrepiece is captured by a glittering, fragmented fish - narwhal - marine animal, breathtaking in its very alienness, like some organic being of a far-off, tessellated world. 

M83 — “'Epic' is over used at the moment but I think its the word to describe M83's dramatic sound. Their unique and distinguishable style is classed as electropop. The Waves of synths build to theatrical crescendos, layer upon layer building complex tracks that seem to keep growing. I wanted my artwork to be visually spectacular I found my starting point when I noted that many of the tracks had a connection to the sea. I thought water could represent the waves of sound and the potential for scale and atmosphere was exciting enough to match the music. I worked from there…”

"Animals don’t laugh. Though sometimes dogs laugh. Besides their panting mouths their smile is transmitted by eyes that start to shine and become more sensual, while their tails wag in joyous expectation. But cats never laugh. A “he” I know wants nothing more to do with cats. He’s through with them forever because he had a certain female cat who periodically got frenzied. When she was in heat her instincts were so imperative that, after long and plangent meows, she would throw herself from the roof and injure herself on the ground.

Sometimes I get electrified when I see animals. I’m now hearing the ancestral cry within me: I no longer seem to know who is the creature, the animal or me. And I get all confused. It seems I get scared of facing up to stifled instincts that I’m forced to acknowledge in the presence of the animal.

I knew a “she” who humanized animals talking to them and giving them her own characteristics. I don’t humanize animals because it’s an offenseyou must respect their natureI am the one who animalizes myself. It’s not hard and comes simply. It’s just a matter of not fighting it and it’s just surrendering.

Nothing is more difficult than surrendering to the instant. That difficulty is human pain. It is ours. I surrender in words and surrender when I paint.

 Holding a little bird in the half-closed cup of your hand is terrible, like having the trembling instants inside your hand. The frightened little bird chaotically beats thousands of wings and suddenly you have in your half-closed hand the thin wings struggling and suddenly you can’t bear it and quickly open your hand to free the light prisoner. Or you hand it quickly back to its owner so that he can give it the relatively greater freedom of the cage. BirdsI want them in the trees or flying far from my hands. I may one day grow intimate with them and take pleasure in their lightweight presence of an instant. “Take pleasure in their lightweight presences” gives me the feeling of having written a complete sentence because it says exactly what it is: the levitation of the birds.”

— Clarice Lispector, from Água Viva, translated from the Portuguese by Stefan Tobler. Read in the New Inquiry.

A Politics Now!



Keyser Söze famously said (or didn’t say) that the greatest trick the devil ever pulled was convincing the world he didn’t exist. We are perhaps witnessing something similar to this operation in modern politics today. Throughout the recent European election campaigns – in the UK at least – the political emphasis seemed to be squarely set on depoliticisation. UKIP’s discourse was most prevalent in this respect, with Nigel Farage consistently claiming defection not only from Europe but from ‘the political class’ itself. The Lib Dems were in on the act as well; in their leaflets we saw them condemning UKIP and the Conservatives for ‘want[ing] to put politics before people’s livelihoods and our nation’s future’, as if politics itself were nothing to do with these things. The Tories too criticised the European Union precisely on the point of being ‘a political project that is not right for Britain’, in their manifesto.

In On the Shores of Politics Jacques Rancière claims that ‘depoliticization is the oldest task of politics, the one which achieves its fulfilment at the brink of its end, its perfection on the brink of the abyss.’ As he explains, it is through this operation that politics can appear to exempt itself from everyday life. By presenting politics as an outmoded activity, politics itself can fade into the background, operating shadily behind the scenes in its connections with and in the interests of corporations it is invariably in thrall to and the privateers for whom the cloak of non-transparency is standard apparel.

What the electorate (the people, that is, in their everyday life) get left with is a tokenistic remainder in which prejudices are raised to the dignity of politics, while capitalistic mechanisms of economic expansion take place off the streets in hushed boardrooms, and through the usual avenues of war-mongering, power-collation, cosying up to the rich, careerism, and  fundraising: in a word, the 1%ing that should be regulated in the name of politics.

To describe the kind of remainder we get from this (per)version of politics the philosopher Slavoj Žižek borrows a term from Jacques Derrida; that is, the term ‘without’, as it is found in the formula ‘X without X’ (Derrida uses the phrase ‘to see without seeing’, for example, when talking about invisibility). Whereas in Derrida it tends to refer to something which remains operational whilst not going under that name (‘religion without religion’ can mean the seeping-in of religion into other areas, under the radar, for example), in Žižek it refers to something being apparent in name only.

Žižek identifies this in one specific phenomenon: decaffeination. The injunction today is: ‘coffee, yes, but without caffeine; beer, yes, but without alcohol; mayonnaise, yes, but without cholesterol…’ Something, but without that something itself. In a 2004 article called ‘A Cup of Decaf Reality’, Žižek adds to the list ‘virtual sex as sex without sex, the Colin Powell doctrine of warfare with no casualties (on our side, of course) as warfare without warfare,’ and ‘the contemporary redefinition of politics as the art of expert administration as politics without politics.’ And it is this artful kind of politics that we’re being sold today in these political leaflets and manifestos that put themselves across as being without politics.

This unabashed politics without politics seems to aim to subtract the possibility and potential of politics from the real political class, the people themselves; to subtract politics proper from supposed ‘everyday life’, in the formula: ‘don’t let politics get in the way!’ The remainder of this comes in the form of instances of extreme reactionary (as opposed to radical) views occupying politics’ place and pretending they’re the solution to society’s ills, usually by condensing these ills themselves into such perennial figures  as the immigrant. Apathy may often be blamed for poor turnouts at elections, but this is mistaking the effect for the cause. Apathy towards politics is being spread by this very kind of decaffeinated message, but the truth of the message actually appears in its inverted form: ‘you can be apolitical; leave politics to us’. Perhaps instead of heralding a political apocalypse, politicians should recognise their responsibility to bring politics itself back to the fore and try their hardest to get us engaged. Instead of apolitics – in the negatory sense of ‘amoral’, ‘asexual’, etc. – what we need is a politics now.

Art by Danny Noble (@MundyMorn) see more of her stuff here:

Angertides by AgNO3; new album cover for my label Kolourbridge's July premiere!

I’m revealing both the final cover and some screenshots of my process because this was a super difficult album cover - I changed the colours about a million times as well as the ocean until I was happy with it. A lot of how it eventually turned out had a lot to do with the kind of experimental edgy music it was fronting. AgNO3's release is hella dope, creative and experimental, veering on the cusp between electronica and indie rock - a deliciously industrial feast for the ears. Glitchy, distorted and psychedelic, the notes grind in a dystopian sonic landscape from which emerges the musician's low, captivating voice - one that seems to simultaneously threaten to destroy and create.

Pre-Order on iTunes: