If every particle in the universe were replaced with a monkey and a typewriter and all the monkeys had been striking keys since the Big Bang, the chance of producing Hamlet would still be negligible.
"Spend five minutes with Joseph Chinard’s Madame Récamier. Three reasons why: 1. the virtuosity of Chinard’s lifelike carving in terracotta; 2. the sitter’s allure, which is open to interpretation—is she coy or demure?; and 3. the renown of historical beauty Juliette Récamier herself. (I’ve looked at this sculpture for many, many minutes and written about it here.)”
Recommended viewing for slowartday from a passionate decorative arts & sculpture educator, Christine Spier.
To zoom in and let your “eyes” wander, click here.
Bust of Madame Recamier (detail), about 1801–02, Joseph Chinard. Terracotta, 24 7/8 in. high. The J. Paul Getty Museum.
Juice it or lose it - Martin Jonasson & Petri Purho
(submitted by @saiacide)
Martin and Petri deliver a hilarious and poignant talk about the importance and power of “juicy” interactions in games
Today’s Daily Dose of the Dead is a jump back to the 50’s & 60’s with a Brent Mydland medley of Devil With the Blue Dress on and Good Golly Miss Molly From the Shoreline Amphitheater in Mountain View, California on October 04, 1987.
Devil with the Blue Dress On is a song written by Shorty Long and William “Mickey” Stevenson, first performed by Long and released as a single in 1964. A 1966 cover version by Mitch Ryder and The Detroit Wheels peaked at #4 on the U.S. Billboard Hot 100. In fact, the Mitch Ryder cover was a medley with a cover of Little Richard’s “Good Golly Miss Molly” sandwiched in between. Good Golly Miss Molly recorded by Little Richard in 1958 was written by John Marascalco and producer Robert “Bumps” Blackwell. The Grateful Dead cover is of the Mitch Ryder medley version.
Probably the oddest thing about this medley is its segue into Estimated Prophet. This run of shows at the Shoreline were probably the best the dead did in 1987.
This was the third and last time the dead played this song.
Enjoy this rockin’ dose o dead.
"Good golly Miss Molly, well you sure like to ball. You’re rocking and you’re rolling, won’t you hear your mama call. From the early, early morning to the early, early night, could see Miss Molly’s rocking at the house of blue light.”
One of the ultimate Grateful Dead folk jams. A cover of a medley of other covers.
“Kingdom of Dreams. Land of the Dead.”
A Loving Look at the Narrative Themes in Hayao Miyazaki’s The Wind Rises
[Warning: there are spoilers in this]
The last film from Miyazaki is not a fantastical action-adventure tale that joins the ranks of Porco Rosso, Laputa and Princess Mononoke. It is not a touching, coming-of-age journey to join Spirited Away and Kiki’s Delivery Service. The Wind Rises (Kaze Tachinu) is an entirely realistic, historically-inspired, fictional biography of Jiro Horikoshi, the acclaimed Japanese aircraft engineer during World War II. While it may be partially regrettable that another entry in either of those two aforementioned Miyazaki-mastered genres is not likely to be made, this film is not in any way a disappointment, rather it is a radical triumph and potentially his most narratively complex work.
While masterful in the many ways expected of a Miyzaki feature, the film’s most unique strength is that it manages to convey deeply complex themes through a series of narratives that are elegant in their pacing, touching in their melodrama, but heavily haunted by their context. It’s an eerie, heartbreaking, and wonderful movie.
The plot of The Wind Rises is not so inherently complicated or unusual, though. Jiro Horikoshi grows up with a passion for aircraft and after meeting Italian Aircraft designer (and personal hero to Hayao Miyazaki) Gianni Caproni in a dream, decides to become an airplane designer himself. The film traces his journey to Tokyo for engineering school, where he encounters the Kanto earthquake and meets his future lover Nahoko on a train. It continues then through the years of his career at Mitsubishi designing aircraft and his marriage with Nahoko. On the surface it is largely the story of “a devoted individual who pursues his dream head on,” just as Miyazaki stated in his proposal for the film (via LATimes). However, the film chooses to spend its time and focus on very irregular, seemingly small moments with regards to Jiro’s life as an engineer, leaving many of the larger events offscreen and unsaid.