itwonlast

Hiroshima Mon Amour (Alain Resnais, 1959)

Opening sequence

The Wind Félix Vallotton Oil on canvas, 1910

The Wind
Félix Vallotton
Oil on canvas, 1910

Working stencil cut-outs for monotype
Romare Bearden
 c.1982

Working stencil cut-outs for monotype

Romare Bearden

 c.1982

La Dernière Clé de Marienbad, published in the special issue of Cahiers du Cinema devoted to Last Year at Marienbad, shows us the sheet created by script girl Sylvette Baudrot to keep track of all the different timelines in the film. Resnais asked to have it printed upside down. (via)

La Dernière Clé de Marienbad, published in the special issue of Cahiers du Cinema devoted to Last Year at Marienbad, shows us the sheet created by script girl Sylvette Baudrot to keep track of all the different timelines in the film. Resnais asked to have it printed upside down. (via)

osmaharvilahti:

Was commissioned by AnOther Magazine to shoot the intimate Comme des Garçons Comme des Garçons collection
Read the story here:
http://www.anothermag.com/current/view/3456/An_Inside_View_of_Comme_des_Garçons_Comme_des_Garçons

osmaharvilahti:

Was commissioned by AnOther Magazine to shoot the intimate Comme des Garçons Comme des Garçons collection

Read the story here:

http://www.anothermag.com/current/view/3456/An_Inside_View_of_Comme_des_Garçons_Comme_des_Garçons

Steve Reich (Kronos Quartet) - America Before the War

Composer’s Notes

Different Trains was originally written in 1988 for String Quartet and pre-recorded performance tape and arranged for String Orchestra and pre-recorded tape in 2001. It begins a new way of composing that has its roots in my early tape pieces It’s Gonna Rain (1965) and Come Out (1966). The basic idea is that carefully chosen speech recordings generate the musical materials for musical instruments. The idea for the piece comes from my childhood. When I was one year old my parents separated. My mother moved to Los Angeles and my father stayed in New York. Since they arranged divided custody, I traveled back and forth by train frequently between New York and Lost Angeles from 1939 to 1942 accompanied by my governess. While these trips were exciting and romantic at the time I now look back and think that, if I had been in Europe during this period, as a Jew I would have had to ride a very different train. With this in mind I wanted to make a piece that would accurately reflect the whole situation.

In order to prepare the tape I did the following:

  1. Record my governess Virginia, then in her seventies, reminiscing about our train trips together.
  2. Record a retired Pullman porter, Lawrence Davis, then in his eighties, who used to ride lines between New York and Los Angeles, reminiscing about his life.
  3. Collect recordings of Holocaust survivors Rachella, Paul and Rachel, all about my age and then living in America—speaking of their experiences.
  4. Collect recorded American and European train sounds of the ‘30s and ‘40s.

In order to combine the taped speech with the string instruments I selected small speech samples that are more or less clearly pitched and then notated them as accurately as possible in musical notation.

The strings then literally imitate that speech melody. The speech samples as well as the train sounds were transferred to tape with the use of sampling keyboards and a computer. Three separate string quartets are also added to the pre-recorded tape and the final live quartet part is added in performance.

Different Trains is in three movements (played without pause), although that term is stretched here since tempos change frequently in each movement. They are:

  1. America—Before the war
  2. Europe—During the war
  3. After the war

The piece thus presents both a documentary and a musical reality and begins a new musical direction. It is a direction that I expect will lead to a new kind of documentary music video theatre in the not too distant future.

— Steve Reich