Watch this and see if you don’t agree that Luke Geissbühler deserves to win some sort of Coolest Dad of the Year award:
This is footage that Geissbühler edited together after he and his young son Max attached a Go Pro Hero HD video camera to a helium-filled weather balloon “that rose into the upper stratosphere and recorded the blackness of space.”
After months of research, planning, and flight tests, the intrepid duo and their friends traveled from Park Slope, Brooklyn to a remote area of Newburgh in Orange County, NY with their camera and GPS system carefully wrapped in a homemade styrofoam capsule and fitted with a parachute. The balloon that carried this hand-crafted vessel skyward was rated to burst at 19 feet in diameter, and reached a height of nearly 20 miles above the earth before that happened.
This was all done within FAA regulations. This is awesome. Not just in the colloquial sense of the word, but by its dictionary definition: amazing, awe inspiring, and provoking wonderment.
Some intense POV footage of an electrician free-climbing a 1768-foot-high broadcasting tower. (Warning: If you’re remotely phobic of heights, you do not want. DOOOOO NOT WANT. Skip it.)
In addition to pulling a heavy bag of tools up behind him on a cord, this valiant man is also undoubtedly laboring somewhat under the additional weight of his PENDULOUSLY ENORMOUS BALLS OF LIGHTNING-REPELLING STEEL.
Even if you’re not scared of heights, this has gotta be one of the most challenging commutes on earth. (Or, to be more accurate, away from the earth.) The narrator’s cheerfully stoic delivery adds an odd 50s educational film vibe to the clip. “It’s good to take a break, and take a look around while you rest.” Oh, is it? Personally, my butthole’s trying to climb into my ribcage just watching this, but I’ll take your word for it, sir.
In a new series titled Machine Punk, artist Laurie Lipton (previously on Coilhouse, with a cameo appearance by Caryn Drexl) skillfully renders a series of cumbersome, beautifully sprawling machines whose tangled wires and polluted textures conspire to create a sense of unease. Lipton states that the series was inspired by steampunk, but notes that the machines in her images run on “madness and electricity” rather than steam. “I was vacuuming one day, and noticed the amount of plugs and cables on the floor… a veritable wasp’s nest of wires and sockets connecting a hoard of gadgets and doo-dads intertwining around the house and my life. I was trapped like a fly in an electrical web. What had happened? Were these things making my life easier or more complex?” The resulting series features contraptions ranging from rickety flying machines to torturous exercise equipment, and critiques – among other things – CCTV surveillance, a broken recycling system, and the empty thought-calories of spending too much time online. Most of the images in this series are best enjoyed at a larger size, so click here to see them all.
Machine Punk will be on display at La Luz de Jesus Gallery in Los Angeles from November 5 – 28th in Gallery 1, side-by-side with artist and Coilhouse collaborator Jessica Joslin in Gallery 2. Also, if you’re a fan of Laurie Lipton’s ghostly older work, it’s worth mentioning that she recently collaborated with clothing company AllSaints to produce a line of t-shirts featuring the wraiths and skeletons of her previous work, and that some of these shirts are now on sale. [Many thanks to the awesome Coilhouse reader who sent this in – I received your submission a while ago, but can’t find it now to credit you! Was it via Twitter?]
…Slow it down 800% using time-stretching software, maybe slap some sort of reverb on it, and presto change-o, you’ve got an unexpectedly stunning piece of downtempo ambient that ranks right up there with M83, Sigur Ros or All Sides. Who knew?! Kudos to Shamantis for turning the slick, overproduced sow’s ear of “U Smile” into such an expansive sonic silk purse.
Glad you asked, Island Princess Barbie! How about letting the gloriously demented folks from Freeform Delusion circuit bend the ever-lovin’ frak outta you? They’re going to skin your pretty little head and soup it up with a switchable mono mini jack output, voice relay bypass, glowing/alternating LED eyeballs, and pitch manipulators. Would you like that, Barbie? Now you’re ready for the ball! You look like royalty. Let’s all sing.
Want to reach out and touch… um… something… the next time you call a beloved family member or friend? Meet the Telenoid R1, a communications android brought into existence by famed Japanese inventor Hiroshi Ishiguro, a man who has, in the words of Daily Mail UK, “made his life’s work coming up with increasingly creepy robots.”
Ishiguro has, in the past, tried to exactly replicate living humans and once developed an eerie robot replica of himself that he named Geminoid HI-1. He also came up with a terrifyingly lifelike female robot called the Geminoid F. But the new Telenoid is something of a departure for the eccentric inventor.
Ishiguro designed the Telenoid R1 to be a robot that could appear like many different ages and that is easily transportable. It is intended to be used as a communication device so that people can ‘chat’ from long distances: the robot is supposed to be able to “transmit the presence” of a person from a distant place.
The Lifesize Mousetrap is exactly what it sounds like: an astoundingly cool, “big kid” version of the classic board game. Created by Mark Perez, constructed from leftover metal/nuts/bolts/spare wood over the course of thirteen years, and operated and maintained by a small, scrappy collective of bay-area based engineers, artists and performers, it’s “a colorful assemblage of kinetic sculptures fantastically handcrafted into a giant, 25 TON Rube Goldberg machine.”
The mechanical spectacle is enhanced by a vaudevillian style road show featuring tap-dancing mouse women, live music, and several dapper “clown engineers” who endeavor to “achieve a chain reaction using Newtonian physics and bowling balls! The action culminates with the spectacular dropping of a 2 TON bank safe from a 30-foot crane.”
This 50,000 pound contraption and its stage show must be seen to be believed. Preferably in person, not on a computer screen– which is why they need our help getting to Maker Faire Detroit and Maker Faire World in New York City. They’ve setup a Kickstarter project to help raise funds for the labor-intensive, rather expensive cross-country trip. There are 10 days left on the clock, and they’ve still got a ways to go before they reach their goal of $6,600 — a buck for every mile they travel. If you’re inspired by small, indie, gloriously strange community art and outreach, here’s a chance to express it. You guys know how this works: a buck here, a fiver there, and spread the word. It adds up so quickly.
And so it shall be that this work-week on Coilhouse begins and ends with Jim Henson. This week The FAM presents one of the greatest television series of all time, Jim Henson’s: The Storyteller. Only lasting 2 seasons the first was broadcast in 1988 and starred John Hurt as the titular storyteller. This was followed up two years later by a second season focused on Greek myths, which lasted for four episodes and featured Michael Gambon in place of Hurt. Today’s FAM features five episodes of the superior first season [Note: All episode descriptions come from wikipedia, ’cause I’m lazy]:
• “Fearnot”: From an early German folk tale. The Storyteller recounts the adventures of a boy who goes out into the world to learn what fear is, accompanied by a dishonest but lovable tinker.
•“Hans My Hedgehog”: From an early German folk tale. A farmer’s wife drives her husband mad with her desperate measures to have a baby. She says to him that she wants a child so bad, she would not care how he looked even if he were covered in quills like a hedgehog. That, of course, is what she gets: a baby covered in quills, as soft as feathers. His mother calls him ‘Hans My Hedgehog’ and she is the only one to love him; his father grows to hate him for shame. So eventually Hans leaves for a place where he can’t hurt anyone and where no-one can hurt him.
Deep inside the forest, for many years Hans dwells with his animals for companions. One day a king gets lost in Hans’ forest and he hears a beautiful song being played on a bagpipe. He follows the music and finds Hans’ castle. When Hans helps him to escape the forest, then king promises that he will give to Hans the first thing to greet him at his castle – which the King secretly knows to be his dog. Instead, it turns out to be his beautiful daughter, the princess of sweetness and cherry pie. Hans and the king have made a deal that in exactly one year and one day his prize (the princess) shall be his.
•“Sapsorrow”: From an early German folk tale, this is a variant on Allerleirauh by the brothers Grimm. There is a king, his dead wife, and his three daughters. Two are as ugly and as bad as can be, but the third, Sapsorrow, is as kind and as beautiful as her sisters are not. There is a ring belonging to the dead Queen, and a royal tradition that states that the girl whose finger fits the ring will become Queen as decreed by law.
•“The Heartless Giant”: From an early German folk tale. A heartless giant, who once terrorised the land before being captured and imprisoned, is befriended by the young prince Leo who, one night, sets him free.
•“The True Bride”: Based on an early German folk tale, The True Bride. A Troll had a daughter, but she left straight off, so the Troll took Anja, an orphan, to replace her to wait on him hand and foot.
I was 8 when these originally aired and two things made watching them a difficult proposition. The first was that the episodes came on dangerously close to my and my brother’s bedtime. The second was that we did not have television. That is, we had a television and VCR, but no cable or reception. My grandparents next door, however, did and we would give them a cassette so that they could record them for us. We must have watched these episodes dozens upon dozens of times, pushing the magnetic tape well beyond its intended lifespan — every story then taking place behind a veil of falling “snow”.
Henson and his team did a phenomenal job with the puppetry and make-up; and Anthony Minghella’s writing is top-notch. Tying it all together is Hurt, whose gravelly delivery is pitch-perfect. With his curmudgeonly dog, voiced by Brain Henson, at his feet he manages to outdo some of the visuals using only his words and that wonderfully expressive face. Time has done nothing to detract from the quality of the series, and upon watching them again, I find that they enthrall me just as much now as they did when I was a child. The low quality YouTube feed even manages to evoke that VHS-like haze on everything. Maybe I’ll put on some footie pajamas later and take this nostalgia trip as far as it will go.
The master of suspense, Alfred Hitchcock, and his leading lady, Polish born, Czech actress Anny Ondra, perform a sound check for his feature film Blackmail in 1929 which was released in both a silent and “all-talkie” version. What begins as an innocent little back and forth is quickly turned into crude double entendre with a simple “said the actress to the bishop” or in this case “as the girl said to the soldier.” BFIfilms, in their YouTube description, notes that one outcome from this test was that Ondra’s lines would later be dubbed live off-screen by Joan Barry, who sounded decidedly more British.
A bit of bonus trivia: production of Blackmail had already begun when producer John Maxwell decided that, based on the success of films like The Jazz Singer, it should also contain parts with sound. He authorized Hitchcock to film only a portion of the film in sound but, Hitchcock being Hitchcock, he decided to surreptitiously record the entire film in sound. Also, Anny Ondra wasn’t the only actor who experienced changes in the final product. In the longer, silent version, the role of the Chief Inspector was played by Sam Livesey whereas the sound version featured Harvey Braban.
Good morning, loves. How was your weekend? I spent most of mine stumbling around the San Mateo county fairgrounds, gaping at the endlessly astonishing/inspiring/overstimulating 2-day geextravaganza that is Maker Faire. Still feeling a bit fried. Pleasantly so. Speaking of getting fried at Maker Faire, here’s a glimpse of what the ArcAttack! performances on the appropriately named “Tesla Stage” looked and sounded like:
Yes. That’s what a man in chain mail wrangling pure lightning looks like. His name is Patrick “Parsec” Brown. He’s ArcAttack’s MC. I sincerely hope that dude gets hella laid. That goes for ALL the guys on the ArcAttack crew. Way more groupie worthy than the average rock band, if you ask me.
Based in Austin, Texas, ArcAttack’s been developing their tech and stage shows for the better half of a decade now. For their astounding audio/visual displays, ArcAttack has invented a completely original DJ setup:
HVDJ pumps music through a PA system while two specially designed DRSSTC’s (Dual-Resonant Solid State Tesla Coils) act as separate synchronized instruments. These high tech machines produce an electrical arc similar to a continuous lightning bolt and put out a crisply distorted square wave sound reminiscent of the early days of synthesizers.
ArcAttack performing the Doctor Who theme song at Maker Faire, 2010. Photo by darthdowney.
First and foremost, ArcAttack is all about putting on a show that is not just a concert, but an otherworldly experience. In doing so with the technology that we’ve created, we hope to inspire minds, the young and the old, to take up an interest in science, the arts, and their applications, to examine where they intersect, where they are going, and to re-examine the works of past researchers and performers such as Nikola Tesla and Delia Derbyshire in light of the ever evolving face of this amazing world. Maybe they’ll have as much fun as we have. But either way, we want them all to enjoy the show, and maybe, just maybe, be inspired to help to leave the world a little better than the way they found it.
Are you awake yet? Are you in love yet? Many more ArcAttack clips after the jump.
