7x7

bit part: a preview of a biopic about Claude Shannon (previously)—the unsung Father of Information Theory

the revolution will not be biennialised: Banksy (previously) makes an appearance at a Venice expo, selling paintings of giant cruise ships moored in the canals

en pointe: the Hong Kong Ballet celebrates its fortieth birthday

😾 😾 😾: Thangrycat is exploiting vulnerabilities in the underpinning architecture of the internet

urban spelunking: when the Jehovah’s Witnesses relocated from Brooklyn Heights to upstate, their vacated properties included a series of underground passageways, via Super Punch

conducive to learning: a collection of striking maps and charts that inspired pupils in the late nineteenth century

walking trot: phones can now determine who is carrying them by knowing their users’ gait and other kinematic factors, via Slashdot

6x6

glou glou: TYWKIWDBI regales us with an overview of new wine terminology

города́-при́зраки: a visually stunning gallery of abandoned places in Russia, via Things Magazine

voluntarily generated pilomotor reflex: studying goosebumps produced at will is a lot more intriguing than it first appears

i’ve got to break free: Freddie Mercury trains with the Royal Ballet in 1979

der phantashische film: German animator Heinz Edelmann, best known for his work on Yellow Submarine, created a psychedelic opening sequence for broadcaster ZDF

south street squidport: as sort of a reverse trap-street, one online mapping service is creating neighbourhoods and districts according to the branding of advertising agencies

she’s got electric boots, a mohair suit

Singer, song-writer duo Sir Elton John and Bernie Taupin have collaborated with several film-makers to produce music videos to three of their iconic songs over forty years after their initial release. Go to this link to see all three songs—the others being Rocket Man and Tiny Dancer, other numbers like Crocodile Rock achieved perfection already with a guest appearance on the Muppet Show—and learn about their production and choreography, which in the featured video reminded me of the Triadic Ballet of the Bauhaus movement.

choreographed geometries

Our thanks to the brilliant Messy Nessy for her extended and studied appreciation of the sublimely strange Triadic Ballet of the Bauhaus Theatre movement of the 1920s.
We had marvelled at the production and revivals beforehand but we were not clued into the backstory, inspiration and legacy enough to be able to enjoy it to the full extent, one always being induced to learning more, like realising the aspirations of Bauhaus itself was in a way realised in the lifestyle engine that is IKEA. The passage through the acts to something darker and more mechanised, formal and constrained in its expression, symbolised synthesizing the Dionysian impulse (which we’d assign to dance) in purely artificial and abstract Apollonian terms—which is ultimately the fate or anything staged and the burden of performance art. In fact, one of the character designs of Oskar Schlemmer that appeared in the third triad became the inspiration for Kansai Yamamoto’s 1973 Ziggy Stardust exaggerated jodhpur jumpsuit. There is currently an exhibit on set layout, choreography and costumes in Metz, and while no troupe is performing the piece right now, you can watch a video of a seminal production at the source link above.

root, third and fifth

Courtesy of Nag-on-the-Lake, comes an interesting look at the choreography and vision of Oskar Schlemmer through his avante-garde production called the Triadisches (Triadic) Ballet, scored by Paul Hindemith, which premiered in Stuttgart in 1922 and toured Europe to spread the spirit and character of the Bauhaus design movement.  A certain Euclidian transformation takes place for these dancers in elaborate and bulky geometric costumes.  There is more to discover at the link, including a recreation (the original musical accompaniment lost to history but reconstructed) of a performance staged in 1970.