Nancy Duarte: The secret structure of great talks



From the “I have a dream” speech to Steve Jobs’ iPhone launch, all great presentations have a common architecture. At TEDxEast, Nancy Duarte draws lessons on how to make a powerful call-to-action.


TateShots: Mark Titchner, Studio Visit


Casts of pig’s rib cages, burnt wood carvings and a cement mixer are just some of the things Mark Titchner showed TateShots when we dropped by his studio for a visit.


Nosferatu (1922)


Originally released in 1922 as Nosferatu, Eine Symphonie Des Grauens, director F.W. Murnau’s chilling and eerie adaption of Stoker’s Dracula is a silent masterpiece of terror which to this day is the most striking and frightening portrayal of the legend.

Nosferatu is in the public domain, and can be downloaded here for free:


Doug Aitken | Acid Modernism

MARCH 30, 2012  By Gonzalo Amat




Off the Deep End

MARCH 29, 2012  By Jason Hackenwerth

Jason Hackenwerth creates a sculpture for T Magazine’s Spring Design issue.


“Just because the artist Jason Hackenwerth can create almost anything — including a frighteningly tentacled cyclops — out of balloons, doesn’t mean he’ll work your child’s birthday party. A graduate of the Savannah College of Art and Design, Hackenwerth formed a 13-foot-tall “T” out of thousands of inflated latex balloons. Like all of Hackenwerth’s creations, his “T” will deflate in a matter of months. Such impermanence is a big part of the artist’s practice. “We need to learn how to let go,” he says, “because everything in life is temporary.””

View the making of Hackenwerth’s “T,” in all its impermanent glory, in their video:



La Jetée – Chris Marker (1962)


La jetée 1 – 2

La jetée 2 – 2


On La Jetée by Jean-Louis Schefer

Translated by Paul Smith

La Jétee

“This is the story of a man marked by an image from his childhood.” That’s the opening (the first voice) of Chris Marker’s film. The phrase broaches a story (the hero will travel in time toward that childhood image); the destruction of cities and the devastation of the earth’s surface have threatened the very reality of the present and have thus let loose temporal virtualities normally locked up or held captive in the past (the past consisting only of a series of images that have become autonomous, tied to the living only by some affect or trauma). The fiction of La Jetée is thus a certain kind of work—whose object is the film’s hero—concerning the paradoxes of memory, concerning the inclusion of the past that lives on within the hero as an image, as a secret that the laboratory experiments in the underground camp will try to make him confess. The realization of the confession comes with the death of the hero himself as he relives a moment of his past, as he meets once again the girl whose image has haunted him.

Read more HERE



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