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Originally posted on Flavorwire:

They were brought to Japan on ships during the mid-sixth century to protect sacred Buddhist scriptures during transport, but quickly became a central element of Japanese life, appearing in art and folklore throughout the ages. Cats populate the ukiyo-e woodblock prints of the Edo Period (1615-1867). Japan Society Gallery will be presenting a selection of these historic prints, which include the longest-lasting image of a cat in Japanese literature and more. “Much that is fundamental to the Japanese character can be gleaned from these historic popular prints that feature cats in everyday life and lore,” notes Miwako Tezuka, director of the gallery. Half of the works will be on view through April 26, while the rest will be exhibited from April 29 to June 7. Bewhiskered kabuki actors, exotic predators, anthropomorphized felines, and other cats await you in our preview of Life of Cats: Selections from the Hiraki Ukiyo-e Collection

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stealing sheep

Originally posted on the sunday experience:

Oh really, so you make a brief ghost like appearance, a twenty six second visitation that from its sounds promises something mystical and magical, strange though seductive, eastern and ethereal and set it upon a surreal moving picture montage before swiftly disappearing in a puff of smoke leaving us in its wake jaws agape needing more and then you tell us we have to wait until April. Now perhaps it’s just me but I’m of the thinking, and I could be wrong, that there are European conventions outlawing such practices. I fear spontaneous combustion might curb the expectancy. This dear readers is the video teaser heralding new happenings in the Stealing Sheep camp with the announcement of a new full length entitled ‘not real’ through heavenly……expected April…..

 

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A young girl emerges from a cocoon to find herself in an idyllic, yet enigmatic town which seems to be a sort of afterlife. She has no memories of anything before this, apart from the dream she had of falling while in the cocoon. The girl finds herself among a small community of winged beings named Haibane, who inform her that she is one of them. She is given the name Rakka, which means “falling”, as all of the Haibane are named after their cocoon dreams. Soon, she sprouts wings too, and is given a halo, which somehow hovers over her head. (Even if it does cause strands of her hair to stick up messily.) The scene where Rakka gains her wings is strangely cathartic. It’s bloody, and it’s obvious that Rakka is going through great pain, yet this is accompanied by beautiful music, with Reki, the second-eldest Haibane, staying by Rakka’s side the whole time to help and soothe her.

This scene gives you a good idea of what Haibane Renmei can be like. For the most part, it’s calm and gentle, but it’s never the sort of series to deny the existence of darker things. It’s not that the world Rakka finds herself in is a dystopia disguised as a utopia; the town genuinely is a nice place to live in. However, there are some aspects to the setting that are puzzling, and even unsettling. It is never explained what is beyond the walls of the town, or why the Haibanes can never leave. There are strange taboos they have to abide by, and while they coexist peacefully with humans, there seems to be a sort of distance between them. In some ways, it reminds me of real life, in that we are brought into a society that we did not choose to belong to, with rules and boundaries so rigidly constructed that we can never break them. The difference is that we enter that society as babies, and are brought up to take all of that for granted. The Haibane may have no memories of their past lives (if they even had past lives), but all the main characters are old enough to already have formed ideas of what is normal. The town itself is like what you’d get if you applied the idea of mukokuseki to a setting rather than to a character. It would be hard to place it within any set time period or culture; it’s the sort of vague place where you know that something isn’t right, but there are too many familiar elements to pinpoint what it is.

Haibane Renmei is the creation of Yoshitoshi ABe, one of my favourite artists thanks to his character designs and other work for Serial Experiments Lain, the greatest work of fiction ever made. (I am a little bit obsessed with Lain.) Both series have many things in common, though I’m afraid that after Serial Experiments Lain, I found Haibane Renmei slightly disappointing. ABe’s designs are beautiful, as always, but his detailed artwork doesn’t translate well to the style of animation used here. Compare the two images below:

While the animation is still nice, it looks a little flat when put next to the original artwork. The animation used in Lain wasn’t perfect either, but its use of darkness and shadows gave it more of a texture. Haibane Renmei is a far more light-hearted series, with most of it taking place during the daytime, so visually, it loses that sense of depth. And while it is slow-paced, it never quite reaches the same level of subtlety as Lain. While I mostly enjoyed its combination of slice-of-life humour and the supernatural (I found it kind of similar to Xxxholic), it sometimes resorted to anime conventions that kind of took away from its tone.

The creators of the show were apparently influenced by Haruki Murakami’s novel Hard-Boiled Wonderland and the End of the World. (Which happens to be the first of his books that I read.) Half of the book took place inside the protagonist’s mind, in a walled fantasy world constructed in his dreams. The other half  takes place in a dark, slightly futuristic world that reminds me of Serial Experiments Lain. This makes me wonder if maybe the connection between the two series is more than just a stylistic or thematic one. Crows are used as a motif in both series, Rakka and Lain  are similar in both appearance and personality, while Hyoko and Midori are basically just older versions of Taro and Myu-Myu. Maybe Haibane Renmei is just an alternate reality created by Lain Iwakura. The only problem with that theory is that Alice seems to be absent from it. Reki, the older, caring character who develops a strong friendship with Rakka, is in some ways similar to Alice, but then there are other ways in which they are different, and I cannot imagine Lain wanting to exist in a world without Alice. Unless, of course, the crow is meant to be Alice.

While it has its flaws, Haibane Renmei is still wonderful. (The final episode is especially good.) It’s also commendable for its depiction of female characters. Most of the main characters are young women, all of whom are treated as people rather than objects. Some of them are quite androgynous, but are still comfortable in their femininity. The tomboyish Kana is just as much a girl as the more traditionally feminine Hikari. In fact, it’s never even treated as an issue or anything, with the other characters seeing this as totally normal. So, while the world we are presented with does seem to be in some ways a problematic one (if I found myself there, I’d probably start to feel like everything is pointless), living there also has many positive aspects, too.

“If I were you, I’d check your urine.”

This is undoubtedly the greatest episode of Sabrina ever. It’s not as bizarre as the pancake episode (which is also terrifying), but it does have some unexpectedly dark moments, which are quite jarring when placed in the midst of the show’s characteristic niceness. I remember watching this episode years ago, but it only struck me recently how weird it was. I love Sabrina, and Archie Comics in general, but I always find it quite funny when they try to include something edgy like this. Such attempts only serve to remind me what a cute and sweet world the Archie universe is. It seems like the writers were aware of this, too, because none of the darker jokes are played too seriously.

For reasons that are left unclear, Sabrina has decided that she hates Christmas. Considering how obnoxiously jolly Sabrina’s aunts are, this is hardly surprising, but it’s difficult to feel any sympathy for her. Her determination to ruin Christmas for everyone else, including her two best friends, soon becomes annoying. Still, it does lead to some funny moments. Her sarcasm in contrast to Harvey’s ditzy niceness is hilarious, as is the montage where Hilda and Zelda force Sabrina to enjoy Christmas. (I’m convinced that Harvey is what Andy from Parks and Recreation must have been like as a teenager.) There are many other amusing little details, too, such as the girl who does a dance for joy after hearing that her tests are cancelled (she’s one of my favourite characters now), and Salem’s yearning for a snowboard. I have no idea why he’d want one, or if cats can even operate snowboards, but at least the threatening letters he sends demanding one is in character. (It’s always nice when the show reminds us that Salem is a criminal who was once bent on world domination.)

However, it’s only in the second half that Christmas Amnesia becomes truly brilliant. Sabrina goes to a party in the other realm, made up of people who hate Christmas. Its tone is surprisingly mean, and includes a dartboard shaped like Santa’s head that bleeds when you hit one of the eyes. Sabrina was invited to this because she was “cool”, which suggests that the residents of the Other Realm have incredibly low standards of coolness. Luckily, though, Sabrina soon realises what a twit she’s been, and rejects their smug, ironic nastiness. Unfortunately, when she switches off the TV there, Sabrina somehow erases Christmas (this sort of thing happens a lot in the series) from the minds of everyone except for her and Salem. This is a pretty good twist, and makes what was already an entertaining episode even better. I can only imagine how miserable it would be if Christmas disappeared and I was the only one who remembered it. Salem reveals that something similar once happened to him, and if she doesn’t manage to bring back Christmas in 24 hours, it will suffer the same fate as the now-forgotten Bobunk. And so, Sabrina does as many Christmas related things she can think of, which only serves to make her look like she’s having a mental breakdown. She even ends up getting suspended. Of course, though, Christmas does eventually return, thanks to a sudden pillow fight and Sabrina learning a sentimental but harmless lesson at the end.

As someone who used to adore Sabrina the Teenage Witch, watching this was nostalgic and fun, even if it did bring up a multitude of embarrassing memories. 3/5.

I want to do individual posts on both Julianna Barwick and Ikue Mori at some point, but I’ve been so busy lately that I haven’t had time to do a full post in ages. So, for now, I’d just like to share this collaboration between the two of them.

The moment I listened to the above piece, I instantly became a fan of both artists. It’s heavenly, combining the signature styles of two ethereal musicians. There’s nothing earthy or guttural about it, but at the same time it isn’t trite or saccharine. It’s the perfect kind of music to study to, especially if you have two extremely difficult exams approaching next week.

Their combination of delicate blips and clicks, gentle drones and Barwick’s unearthly voice is close to perfect. The only way I could imagine it being any better is if they had teamed up with Grouper and Noveller, too. Maybe that will happen someday, though if it did I could end up losing myself in their clear, soft waves of spaciness for good.

Originally posted on Reverbatory:

A classroom filled with 24 musicians (individual speakers/screens aka Apple computers). A maestro (me). A Microsoft Kinect. Some sound/image/network programming. This is the perfect setup for a glitch orchestra music project.

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Lain’s bear suit

Note: This post contains minor spoilers.

There isn’t an awful lot of variation in the clothing Lain wears, but many of the outfits that do appear in the series are pretty significant. It’s not that Lain doesn’t care about her appearance, but her style is pretty subdued, like her personality. In general, she seems to prefer cute things in soft colours, and is uncomfortable with the idea of trying on the kinds of things her friends wear to clubs. Her most iconic outfit is a bear onesie, which makes her even more adorable than she already is.

Lain’s bear suit fulfills the same function for her as Linus’ blanket does in Peanuts. While there are other Lains, her true self is quiet and vulnerable. (Though it’s stronger than she might think, as this is the aspect of her that ends up as the dominant one.) Despite hints that she isn’t fully human and the possibility that she might even be omnipotent, Lain is still a normal teenage girl with insecurities and doubts. Unlike her friends, she isn’t ready to be an adult yet. Going to Cyberia for the first time, she wears a little hat with a bear on it, because that makes her feel safer. It might not offer as much protection as the onesie, but its presence is a reassuring one.

Bearsuit

The bear motif was first suggested by Takahiro Kishida, who worked on character designs and animation for the series. This idea fit well, as the series’ writer, Chiaki Konaka and his brother Kazuya often include bears in their works. Chiaki Konaka was initially reluctant to use it, however, as bears had become such a trademark for them, until the idea of Lain using it to shield her was put forward. Lain also has a number of teddies in her mostly bare room at the beginning, though later they are overshadowed by her ever-growing (almost organic) collection of Navis (computers) and coolant systems as she becomes more obsessed with the Wired, and other sides of her emerge. She still needs the bear suit, though, and it’s useful even if she can’t wear it outside. Aside from her father, Lain’s family can be quite hostile towards her, and the onesie provides her with the safety and warmth that they don’t give her. In later episodes, when things get more confusing, the bear suit becomes needed once again. In the final episode, however, Lain’s father (or at least a vision of Lain’s father) appears, and gently explains to her that she no longer needs it any more.

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