A short documentary by David Loeb Weiss, a former New York Times proofreader, chronicling the final day of hot metal typesetting on the 1 July 1978.
The following images come from negatives salvaged from a recycling plant on the edge of Beijing, where they had been sent to be filtered for their silver nitrate content.Over the years French collector Thomas Sauvin built this archive of more than half a million 35mm negatives, depicting the capital and the life of her inhabitants over the last thirty years.
From 2011 to 2013, Chinese artist Lei Lei selected over 3000 photos to create the animation you are about to see, an almost epic portrait of anonymous humanity.
The film is the winner of Grand Prix shorts – non-narrative at the 2013 Holland International animation film festival, Nenarativní animace at the 12th Anifest International animation festival, Special Mentions by the jury members in 12th Countryside Animafest Cyprus. and Official Selected by Annecy International Animation Festival 2013.
Animation by Lei Lei + Thomas Sauvin, with sound art by Zafka
unmappable weaves together the life and work of iconoclastic psychogeographer and convicted sex offender, Denis Wood. Directed by Diane Hodson and Jasmine Luoma
My fight with maps, actually with cartography, was ignited by their rejection of modernism. As modernism was noisily turning its back on the failed rationalities, on the empty harmonies, on the make-believe coherences of Enlightenment, of Victorian thinking, cartography was clutching them ever more tightly to its breast. Painters may have been deconstructing pictorial space, composers shredding inherited tonalities, architects stripping walls of pilasters, cornices, and dentil moldings, poets following Pound’s cry to “Make it new”, and novelists indulging a self-consciousness that was all but the hallmark of the age, but cartographers, they were content to hone, to polish, to extend inherited forms.
Cartography exalted its unreflective empiricism as its raison d’être. It cherished the graphic conventions it had laid down in the 19th century. Even today, few maps acknowledge the 19th century’s over. This, despite the fact maps were never what they were claimed to be, never what the map themselves claimed to be: veridical and value-free pictures of reality. They were always arguments about the way the maps’ makers—or about the way those who paid the maps’ makers—thought the world should be.
With modernism came a predisposition for resistance and smashing traditional forms, for going someplace stripped down, someplace essential, someplace real, for asking, Why not? I long felt around for a new map that wasn’t of the same old subjects, that didn’t have the same old forms, that looked and felt modern. Schoenberg wanted to emancipate the dissonance. Arp wanted to destroy existing modes of making art. Fifty years later, I wanted to destroy the existing ways of making maps through which millions were subjugated, herded, and all too often killed. I wanted to emancipate dream and desire as subjects of the map.
Hard to do in geography: it was nearly as hidebound as cartography.– Denis Wood, Mapping Deeply
Won the Oscar for Documentary Short Subject.