#claudia walsh edits

[kwalshedit]

kennedy and claudia walsh for halloween, 2023.

[panelshowsource]

alex talked about that recently in this interview! [rubs hands together like a mischievous little shrimp] i hope we see it one day heh

hehehe it was a fun task! we've NEVER seen alex play such a character during a task like that — he's received cuddles and made demands and eaten meals, but this was next level Alex Acting — so that was really fun!

lucy talking incessantly about alex's legs but mans also got his long sparkly toes

i think people are too quick to call this or that iconic, but ngl the second i saw this final image...it's practically a horror movie poster...PERFECT

can you imagine greg davies being your drama teacher and then he quits to become a comedian and the next day you see him on tv as Massive Greg hand feeding a man with no teeth who is pretending to be a tortoise

honestly if that's the one that haunts you i'd say you got off pretty easy, i scrub my eyes with concrete mix every night to try and forget ass sandwich and yet... but hey at least when he hurt his hand he finally had an excuse for that stupid bandage he wears hahaha

she was being so sincere and he was Such A Little Shit 😭

you know what i was binging some simon stuff as well, since it was his birthday, and ran across this again after all these years!

aw anon i'm so glad ♡

moooost of my fave episodes are like ~2005–2015ish? probably the nostalgia!

21.01 with jess hynes bc she is an icon to me

21.05 love seeing simon and miquita together

21.07 with martin freeman

22.02 with stephen fucking fry YES

22.04 was crazy like conchords-era rhys darby was there (i LOVED flight of the conchords lmao) and then johnny vegas and danny dyer next to each other? what a lineup

22.12 with josh groban, omid, martin freeman, heston is an ALL-TIME CLASSIC

i LOVE the guest-hosted episodes with martin freeman, rhod gilbert, frankie boyle (especially 24.12 with miles jupp and professor green), jack dee, alex horne, kathy burke, and johnny vegas

23.12 doctor who special HANDS DOWN

24.02 it's hilarious how respectable catherine tate is offset by how ridiculous catherine tate is

25.06 when greg hosted with frankie boyle, h was there just being h, holly walsh angel, it was a riot

john barrowman is also extremely iconic on buzzcocks, probably most so on 19.05 but also when he hosted 25.12

there are tons of older episodes from the lamarr era that i love — bob mortimer is so funny on this series especially on sean's team, 12.05 when jimmy and claudia were with phill, fun to see ian dury on 5.01, and so on — but these above are some of my personal all-time faves!

aw i really appreciate the rec! first i would like to say i looked it up on youtube and stumbled across the american version and holy shit the dude who hosted brainsurge on nickelodeon is hosting that and WOW my brain would have died never having remembered he existed if i hadn't seen him just now — so that was very weird. ANYWAYS i'll check it out!

imo it didn't start with ben miller...rob is always like this... sometimes when the pod episodes are shorter (less than 10min? does he do that anymore), you can tell some of the bullshit is edited around, but now that they're longer-form conversations he is dominating every episode. i'm certainly no rob hater, but it's really unsurprising to me because facts are facts — rob is self-involved, extremely concerned about being seen and being heard, incredibly pouty if not outrightly bitter when he's not recognised, when fame/success doesn't chase him, when he's getting less from life than he believes he deserves. there are aspects of rob in the trip that aren't far from reality, if you see what i mean. rob is, honestly, quite showbiz. don't get me wrong, he's funny, affable, talented, we love him! but he's not a stellar podcast host because he doesn't have the attention span to let someone else have a moment. have a story. put something on the table. there are definitely times i give him the benefit of the doubt and assume he's trying to form a connection by sharing a related experience/feeling/whatever, but other times he's just being self-involved, pivoting the convo, and it is what it is. it's too bad when we don't always get lengthy, insightful content for someone we love — like miles, let's say — and when we finally do rob isn't doing his part; i felt that way about the dara episode. i don't think rob means any malice, it's just how he is...+ a dash of being a middle-aged white man in showbiz...

i got this one yesterday...

...and i'm going to dedicate it to you<3

and frankly sign me up for the woz/vcm experience i am happy to be a little tomato in that flapjack sandwich

you guys are really sweet, it makes me smile ♡ i don't know why some days the trolling can really get to you and other days you forget it in a couple blinks... i feel like i've been having some bad days. last week i saw something on my own dash with thousands of notes outright mocking me and i haven't really recovered from the uncomfortableness/just general hurt feelings. i want be better about letting those things go, but i also think a holiday break will do me good. anyways, thank you for always enjoying the blog and taking the time to be so kind ♡

—————

WATCH LINKS MASTERPOST / FAQ / TAGS / ASK

[tinygmusic]

MEOVV PROWLS BACK WITH 2 NEW SINGLES

Rosa Gulliver of TINYGMUSIC | November 18, 2024

Following their bold self-titled debut, MEOVV prowls back with two new singles and music videos that further showcase the breadth of their musical spectrum: “TOXIC,” an emotional pop/R&B anthem, and “BODY,” a vibrant, dance-inducing hit - now available via THEBLACKLABEL / Capitol Records. 

“TOXIC,” which was co-written by MEOVV members GAWON and NARIN, features a minimalist rhythm that spotlights the unique vocal tones of MEOVV’s five members. With honest, delicate lyrics that capture the inescapable feeling of being caught in an emotional whirlwind, the song immerses listeners in its captivating atmosphere. “TOXIC” was written by Billy Walsh, 24, KUSH, TEDDY, Zikai, GAWON, NARIN and Claudia Valentina. The song was produced by 24.

With an addictive chorus, “BODY” exemplifies MEOVV’s confidence, ambition, and vibrant energy as they prepare to make a bigger leap into the world. Combining a bouncy beat and memorable rap and vocal sections, “BODY” exudes a fresh, rhythmic energy. The track was written by TEDDY, Tommy Brown, Marqueze Parker, Theron Thomas, Steven Franks, Amanda Ratchford, Aliyah Scott and 24. Tommy "TB Hits" Brown, Leather Jacket and 24 produced the track.

The music video for “TOXIC” captures the girls’ coming-of-age journey across diverse visual landscapes and storylines. As each character’s story unfolds, the visuals add depth and conviction to the song, making for a stunning and emotionally resonant experience. In less than 10 hours of its release the video amassed over 1.5 millon views.

About MEOVV

MEOVV (pronounced “meow”) are the first ever girl group launched by THEBLACKLABEL and represents the vision of label founder and mega-producer Teddy Park (a.k.a. TEDDY). TEDDY, who has played an integral role in shaping the overall direction and creative for BIGBANG, G-Dragon, 2NE1 and BLACKPINK, hand-picked the members of MEOVV and directed all facets of the creative and production. The members of MEOVV were revealed one at a time in September with individual “EYES OF MEOVV” visuals, which amassed over 100 million combined views – all before the group had even released a single song. Watch the trailers for idols SOOIN (HERE), GAWON (HERE), ANNA (HERE), NARIN (HERE), and ELLA (HERE). Word quickly spread about the multidimensional group posed to break from the conventional K-Pop mold with signing stories in Billboard, Variety, and HITS. “MEOW” debuted at No. 10 on Billboard’s World Digital Song Sales chart. Teen Vogue said, “MEOVV are entering the scene claws out with new fierce single ‘MEOW’” and hailed the track as one of the “Best New Songs of September 2024.” UPROXX noted, “‘MEOW’ instantly shows why MEOVV is K-Pop’s next enticing girl group. The five members … [have] seamless chemistry while delivering bilingual catchy lines…It shouldn’t take long for MEOVV to make their presence known on the charts.” Hypebeast observed, “MEOVV’s ability to effortlessly shift between languages and styles highlights their versatility and star power.” Watch the visual HERE. In their native South Korea, MEOVV launched the single with performances on a trio of major national TV shows. Check out their performances on “M COUNTDOWN” (the world’s No. 1 K-Pop chart show), “SBS Inkigayo” and “NPOP LIMITED EDITION - SIDE A.”  With their ascension story continuing to unfold, the MEOVV takeover has only just begun.

About THEBLACKLABEL

THEBLACKLABEL is a South Korean Entertainment Company, Record Label & Creative Agency founded by TEDDY. THEBLACKLABEL was established in 2016 and is home to acts such as TAEYANG, JEON SOMI, ROSÉ, LØREN, & Vince.

Keep up with MEOVV

Instagram

X (Twitter)

Facebook

TikTok

Threads

Weibo

Website

YouTube

Spotify

Apple Music

YouTube Music

Genie

Melon

Napster

DEEZER

Amazon Music

TIDAL

iTunes Store

YouTube

Keep up with THEBLACKLABEL

Instagram

X (Twitter)

Facebook

Threads

Website

YouTube

[moondust-edits]

cllaaaudiaa ( claudia walsh ) – layouts.

── 𝙄𝙛 𝙮𝙤𝙪 𝙪𝙨𝙚: 𝙡𝙞𝙠𝙚/𝙧𝙚𝙗𝙡𝙤𝙜

── don’t clame as your own.

─ credits in @caotichuman in Twitter

[kardashianklazz99]

hello !

click here for access to a series of gif icons for influencer claudia walsh (size 80x80). none of the gifs are mine but i did edit them all credit goes to the original creators

please reblog if you use them!

[womenintranslation]

April 6–7 in NYC:

Teaching Translation and Interpreting Conference April 6-7, 2019 Hunter College of the City University of New York Hunter West, 8th Floor ​ Organized by Margarit T. Ordukhanyan (Hunter College) Co-sponsored by American Translation and Interpreting Studies Association, with the participation of the National Language Service

With a growing demand for professionals in the language support services, teaching translation and interpretation is quickly becoming an educational imperative. By bringing together representatives of the industry and the academe, the conference aims to bridge the gap between the way translation is taught and the way it is practiced outside academic institutions. The conference addressed the need for new and innovative approaches to teach aspects of translation and interpretation at all levels of the undergraduate and graduate curriculum. While addressing various perspective and methodologies, the conference seeks to elevate the profile of translation pedagogy as an independent academic discipline and explore its impact on other professional fields.

Saturday, April 6, 2019

9:00-10:15

Opening Remarks

Robert Cowan (Hunter College)

Keynote Address

“Emerging Contexts In Translation Pedagogy: Challenges and Opportunities”

Brian J. Baer (Kent State University)

Location: Faculty Dining Room, Hunter West 8th floor

*Coffee and light refreshments provided starting 8:45

10:30 – 12:00

Translation Curriculum: What the Profession Needs

Chair: Margarit Ordukhanyan (Hunter College)

“Teaching Translation and Interpretation: What the Profession Needs”

Caitilin Walsh (American Translators Association)

“Training Translators to Work for International Organizations”

Mekki Elbardi (United Nations)

“Cultural Mistranslation and the Big Business of Faith-Based Non-Profits in the USA”

Adrian Izquierdo (Baruch College)

12:00– 13:00

Lunch Break

*Lunch served in Faculty Dining Room

1:00-2:30

Panel II: Intercultural Communication in Translation

Chair: Margarit Ordukhanyan (Hunter College)

​

"Crossing Cultural Borders in a Digital World"

Annalisa Nash Fernandez (Because Culture LLC)

"Teaching Culture and Intercultural Communication to Future Translators and Interpreters"

​Monique Roske (University of Maryland)

1:00-2:300

Workshop: Russian Translation Assessment

Facilitated by Annie Fisher (University of Wisconsin-Milwakee)

The workshop uses actual student assignments to discuss effective feedback, codification of errors, and other aspects of teaching Russian-language translation courses.

​

Location: Hunter West B126

2:45-4:30

Panel III: Translation and Technology

Chair: Annie Fisher (University of Wisconsin-Milwakee)

"Gauging and Establishing "Best" Practices in Online Translation Course Design

Andrew Tucker (Kent State University) and Erik Angelone (Kent State University)

“Leveraging Technology to Deliver Feedback in the Online Translation Course”

Annie Fisher (University of Wisconsin-Milwaukee)

"Enhancing Localization Graduate Employability Through Skill-Driven Curricula"

Loubna Bilali (Kent State University)

"Using and Integrating Large Institutional Websites in Translation Courses"

Françoise Herrmann (University of Maryland)

4:45-6:15

Translation, Community, Integration

Moderated by Julie Van Peteghem (Hunter College)

“The impact of interpreting education on the psychological effects of language brokering”

Aida Martinez Gomez (John Jay College)

The presentation is followed by a round-table by Hunter College students

6:30-9:00

Keynote and Reception

“Translation, the Liberal Arts and Global Humanities”

Aron Aji (University of Iowa)

Sunday, April 7 KEYNOTE SPEAKERS Brian James Baer is Professor of Russian and Translation Studies at Kent State University. He is the author of the monographs Other Russias (2009) and Translation and the Making of Modern Russian Literature (2016), as well as the editor of several collected volumes, including Beyond the Ivory Tower: Re-thinking Translation Pedagogy with Geoffrey Koby (2003), Contexts, Subtexts, Pretexts: Literary Translation in Eastern Europe and Russia (2011), Researching Translation and Interpreting, with Claudia Angelelli (2015), Translation in Russian Contexts, with Susanna Witt (2018), and Queering Translation, Translating the Queer, with Klaus Kaindl (2018). He is founding editor of the journal Translation and Interpreting Studies and co-editor of the Bloomsbury book series Literatures, Cultures, Translation. He is also the translator of Juri Lotman's final monograph, The Unpredictable Workings of Culture (2013), and a forthcoming collection of essays by Lotman on cultural memory. He is the current president of the American Translation and Interpreting Studies Association.

8:45-10:30

Panel 1: Bringing Translation to the Classroom

Chair: Margarit Ordukhanyan (Hunter College)

​

"Starting from Scratch: Developing an Introduction to Translation and Interpreting Courses"

Garrett Bradford (University of Maryland)

​"Pre- and Post-Translation Tasks in Translation Pedagogy"

Laura Ramirez Polo (Rutgers University)

“Community Engagement in Translation and Interpreting Courses”

Cristiano Mazzei (University of Massachusetts, Amherst)

“Teaching Translation as Situated Learning: Benefits of Engaging Translation Students with Refugee Communities”

Laurence Jay-Rayon Ibrahim Aibo (University of Massachusetts, Amherst)

Coffee and light refreshments served starting 8:30

10:30-12:15

Panel IIA: Serving Spanish-Speaking Communities

Chair: TBD

“Serving Low-Vision Spanish-Speaking Community in the US”

María José García-Vizcaíno (Montclair State University)

“Spanish Translation for Community Based Organizations"

E. Diana Biagioli (Independent Professional)

“Designing a Concentration in Translation for a Four-Year College”

Reyes Lazaro (Smith College)

10:30-12:15

Panel IIB: Teaching Russian Through Translation

Chair: Brian J. Baer

"Cultural Mediation: Teaching Russian Poetry to Russian Heritage Students"

Julia Trubikhina (Hunter College) and Christopher Czubay (Hunter College)

"Teaching Translation as an Advanced Language Course"

Ainsley Morse (Pomona College)

​

"Bridging the Divide: Anton Chekhov’s “Sleepy” and the Challenges and Rewards of Literary Transposition"

Nadya Peterson (Hunter College)

12:15-1:00

Lunch Break

1:00-2:30

Panel III: Bringing Translation to Non-Translation Classrooms

Chair: Esther Allen (Baruch College)

"Teaching Translation from All Languages: Evaluation, Integration, and Relevant Readings (for the Professor Who Knows Only Some of Them)"

Sibelan Forrester (Swarthmore College)

“Possibility of the Impossible: Comparing Translations of Osip Mandelstam’s Epigram to Stalin”

Ian Probstein (Touro College)

“Comparative Translations in the Intermediate Hindi Classroom”

Jason Grunebaum (University of Chicago)

​2:45-4:15

Panel IV: Roundtable – Reading like a Translator

Chair/Discussant: Julie Van Peteghem (Hunter College)

Karen Emmerich (Princeton University)

Anne Janusch (University of Chicago)

Jennifer Zoble (New York University)

4:30-5:30

Panel V: Issues of Inclusivity, Gender, and Diversity in Translation

Chair: Esther Allen (Baruch College)

​

“Teaching Translation through Gender Topics: Adapting the Instructional Design of an Introductory Translation Course”

Iván Villanueva-Jordán (Universidad Peruana de Ciencias Aplicadas)

“The Gender Gap in Translation: Translator Advocacy and Curricular Applications”

Margaret Carson (Borough of Manhattan Community College)

5:45-6:00

Continuing Conversations: Looking Ahead

Margarit Ordukhanyan (Hunter College)

Aron Aji is the Director of MFA in Literary Translation at University of Iowa. A native of Turkey, he has translated works by Bilge Karasu, Murathan Mungan, Elif Shafak, LatifeTekin, and other Turkish writers, including three book-length works by Karasu: Death in Troy; The Garden of Departed Cats, (2004 National Translation Award); and A Long Day’s Evening, (NEA Literature Fellowship, and short-listed for the 2013 PEN Translation Prize). He also edited, Milan Kundera and the Art of Fiction. Aji leads the Translation Workshop, and teaches courses on retranslation, poetry and translation; theory, and contemporary Turkish literature. He is also the president of The American Literary Translators Association.

[artwalktv]

Confined to his room in an aged care facility, an elderly man with a debilitating disease struggles with his sons abrupt departure Directed by Bonnie Moir Written by Bonnie Moir and Nicholas Denton Produced by Bonnie Moir, Nicholas Denton and Michael Jones Luke - Nicholas Denton Russell - Richard Moir Director of photography Max Walter Edited by Leila Gaabi Music by Warren Ellis Sound design and Mix Lachlan Harris 1st Assistant director Michael Jones 2nd assistant director Eve Gailey 1st Assistant camera Lucas Brown 2nd Assistant Camera Conor Jamieson & Annika Rigg Gaffer Tommi Hacker Best Boys Jauquin Vickery & Noah Snell Production Designer Imogen Walsh Art Department Assistant Shanahbelle Macdonald Sound recordists Thomas Day, Lloyed Prat and Hayley Bennett Runner Joseph Green Stills photographer Anna Denton Post producer Charlotte Grifiths Assistant Editor Shannon Michael Flame Artist Matt Edwards Titles Michael Zito Colourist Fergus Rotherham Post Facility The Editors Special Thanks to the following people and organisations for their unwavering support. Tom Campbell, Glendyn Ivin, Garth Davis, Shelly Lauman, Lucy Moir, Julie Nihill, Lucinda Reynolds, Lucy Aston, Sam Chiplin, Emily Cook, Adolpho Veloso, Liv Reddy, Exit Films, The Editors Waylan Chisholm, Vateresio Tuikaba, Elizabeth O'Callaghan, Peter Paltos, Anna Lise Phillips, Briony Dunn, Jackie Allen, Adrian Vanda, Heinrichs Pacers, Tim McCormack, James MacGregor, Ange Slater, Alice Curry, Mira Oosterweghel Tegan Crowley, Will Johnston, Charlie Wood and VitaDrop, Kate Whitbread, Jacintho Muinos, Marcus Molyneux, Eugenie Muggleton, Claudia Nankervis, Celeste Veldze, Bill Black, Gabrielle Grist, Burcin Eser, Anna Lise Phillips, Thomas Hayes, Liza Dennis, Tim Dakin, Guillaume Dillee, Roger Karge, Charlie Denton, Louis Denton, Gorman Family Siteworks, Brunswick, Mediterranean Wholesalers, Brunswick and Transdev, Melbourne

[marcfish]

The Design Edit

In the Newhaven studio of furniture-maker Marc Fish, Claudia Barbieri discovers how the designer bends wood to his will.

17th September 2019

ONE MIDNIGHT IN July, the SushiSamba restaurant at 110 Bishopsgate, high above London’s financial district, closed earlier than usual and a team of workmen moved in. Taking infinite care they manoeuvred three intriguing objects, made from around 5,000 wood shavings layered and interleaved with resin, into the service lift that whisked them to the 39th floor of the building formerly known as Heron Tower. There, working against the clock with chronometric coordination, installers, electricians and riggers assembled the objects into a 2.5-metre-wide, light-emitting, revolving conch.

“We had to make the pieces the right size to fit through a metre-wide lift door – there was just 15 millimetres clearance,” says the designer Marc Fish. “At 4 o’clock in the morning it was finally being winched into place, just as the sun was rising behind it.” SushiSamba’s marine mollusc is pure Fish: organic form; technical complexity; extreme precision and creative innovation. “It was quite a special night for us. The restaurant opened at 10 am the next morning all cleaned up, almost as if we hadn’t been there – except there was a large shell hanging from the ceiling,” says Fish.

In the past ten years Fish, now 48, has emerged as a rising star of art furniture, with clients from as far afield as Hollywood queuing for up to two years for his creations – and international students flocking to learn his methods at the Robinson House Studio Furniture School. What attracts clients, students and design mavens is a particular fusion of traditional and high-tech craft skills, daring aesthetics and experimental materials science.

Marc Fish with ‘Sycamore Seed Sculpture’, 2019 COURTESY: Marc Fish / PHOTOGRAPHER: Simon Eldon

Despite his global status he still operates from Newhaven, a nondescript south coast port near Brighton with a tradition of furniture-making, where he first set up a studio cum workshop 22 years ago. Now, in an unpretentious single-storey backstreet shed, up to fifteen would-be cabinet makers at a time learn traditional woodworking skills under the eye of master craftsman Theo Cook (Fish’s partner in the school, and a pupil of the 20th century British and American masters Edward Barnsley and James Krenov).

In the main workshop next door, three makers on a recent day are working on a mirrored pair of ‘Ethereal’ console tables – as well as a surreal seven-foot high armchair that Salvador Dali could have conceived for Game of Thrones. In his studio Fish lays swatches of ink from a broad -tipped pen onto a sheet of paper: calligraphic doodles that may germinate into an exotic new species of Fish furniture, or end in the waste bin.

Marc Fish working on ‘Adhesion console’ 2017 COURTESY: Marc Fish / PHOTOGRAPHER: Simon Eldon

Furniture has function and Fish takes care to tick that box. An ‘Ethereal’ console table may swirl and curve but it’s flat enough at its centre to hold a phone or a lamp; a ‘Babel’ drinks cabinet may look like a man-sized caterpillar’s cocoon but, hinged open, it displays bottles and glasses. Still, what fires his imagination is form. “It’s nice to make sculpture, and not to have practical limitations forced on you,” he says. “Often you come up with a form and then you think, ‘How do I make it into a table?’ Almost as an afterthought, you put a glass top on it. I don’t want to go down that route anymore. The reality is, a lot of what we do is sculpture.”

Marc Fish, ‘Mokumi-Gani’ console, 2019 COURTESY: Marc Fish / PHOTOGRAPHER: Simon Eldon

Marc Fish, ‘Mokumi-Gani’ console, 2019 (detail) COURTESY: Marc Fish / PHOTOGRAPHER: Simon Eldon

While his reputation has soared these past few years, his career path has been anything but linear: in fact it has been almost as sinuous as his signature style. Aged 14 he wanted to be an architect, but he left school at 16 and went to work in a bank for the next seven years. As a hobby, he started restoring vintage Porsche and Volkswagen cars – one of his restored VW campers was bought by the company for its museum in Germany. Then he turned his self-taught metalworking skills to making metal furniture.

For a couple of years he did well. “In 1998/99 we were selling work through three shops in Brighton,” he remembers. “Then those three shops all went bust in three months. Taste suddenly changed. Metal furniture died a death, it was considered cold and sterile. Everybody in Brighton was getting into heavy, chunky dark timber furniture from Indonesia. Suddenly there were no more orders. It was pretty dire.”

By then, the design bug was in his blood. Rather than dwell on the setback, he went with the flow and switched into wood. After studying for a City and Guilds furniture-making qualification, he trained for six months under the cabinetmaker John Lloyd in Ditchling – spiritual home of Eric Gill and the Sussex Arts and Crafts movement.

Marc Fish with ‘Vortex’ dining table, 2018 COURTESY: Marc Fish / PHOTOGRAPHER: Simon Eldon

As his materials evolved, so did techniques and styles. The early metal furniture was, “more Bauhaus, more 1920s, art deco but a little bit contemporary.” After learning to work with wood he spent several years making traditional joinery pieces. Then, in 2009, “I woke up one morning and thought, ‘Why am I doing this? I don’t like what I’m making. There’s no creative outlet’,” Fish remembered. So he decided to change direction.

He set up his school to earn a living from teaching the skills he’d learnt, and in parallel started experimenting with supple wood veneers. Bent into shape, stacked sequentially together, suspended in and bonded together with resin glues, the flexible slivers of wood lent themselves to naturalistic shapes. “I just fell into my design identity,” he says.

Marc Fish, ‘Ethereal Desk’, 2018 COURTESY: Marc Fish / PHOTOGRAPHER: Simon Eldon

His first ‘Nautilus’ edition of tables, like the ‘SushiSamba luminaire’, was inspired by the Fibonacci spiral of a seashell. His ‘Ethereal’ range of desks and chairs draws on the lacy translucency of a skeletal leaf. Perhaps oddly, his own taste lies elsewhere. His favourite designer, he says, is the 1930s French modernist architect Pierre Chareau, a visionary pioneer of the use of mechanical engineering and heterogeneous materials. “I would like his aesthetic in my own home,” Fish says. As for his own work: “I design furniture for a different market. I am not my own market.”

Though his style may bring to mind the voluptuous ripples of Art Nouveau and the fluid idiom of his Irish contemporary Joseph Walsh, Fish denies consanguinity with either. Art Nouveau he dismisses as “almost treacly”, and asked for historical role models he looks no further back than the last century, pointing to the pioneering work of John Makepeace and Wendell Castle.

Marc Fish, ‘Laminaria chaise’, 2015 COURTESY: Marc Fish / PHOTOGRAPHER: Simon Eldon

Walsh he respects; but for all the similarities of conceptual idiom, he says they inhabit different technical worlds. Where Walsh crafts his willowy structures from saw-cut 2-millimetre veneers, Fish works only with thousands of knife-pared veneers, each no more than 0.6 millimetres thick. The thinness of the wood allows it to be bent like paper, without steaming. It’s a technique that he says allows a purer aesthetic. But it is also extraordinarily time-consuming, technically challenging and costly. The ‘Nautilus’ table was built from a stack of 4,000 veneers and took a thousand hours to make.

Marc Fish, ‘Nautilus’ coffee table, 2014 COURTESY: Marc Fish / PHOTOGRAPHER: Simon Eldon

The translucent resins too, binding the veneers together into batches, are the end-product of a painstaking process of trial-and-error and materials-science research. “We’ve had five resins that we’ve used in the past four years,” Fish says, “We’ve experimented absolutely to death. We’ve had a nightmare journey!” A big challenge is the way the resins react with the wood: to speed up production, the liquid resins are heated to harden faster, but in this curing process exothermic reactions happen that can suck air out of the wood and form bubbles in the resin. Flawed batches go into the bin. “It’s taken us three years to get the technique right,” he said. Everything he does is now made this way. A chair leg, for example, could be cut and shaped more simply out of solid timber, “but it’s important to us that we keep the same narrative running all the way through our work,” Fish says.

Marc Fish, ‘Ethereal Desk’ chair, 2019 COURTESY: Marc Fish / PHOTOGRAPHER: Simon Eldon

Still, narrative and aesthetic purity carry a cost. Though advanced industrial technology has its place – the workshop is equipped with a laser cutter and a three-D printer for mocking up prototype models – there’s no economy of scale from batch production, no compromise on the individuality of every piece, the consideration given to every line and facet. Prices reflect this. The ‘Nautilus’ desk sold for £96,000, and the first ‘Ethereal’ desk (a translucent wisp of Sycamore veneer, resin and carbon fibre), was sold by Todd Merrill at last December’s Miami Design for $130,000. Smaller pieces, such as the ‘Ethereal’ chair taking shape in the workshop for display at this year’s PAD London in October, will be priced nearer £20,000.

Marc Fish, ‘Relics Triptych’, 2016 COURTESY: Marc Fish / PHOTOGRAPHER: Simon Eldon

That may seem a lot for a chair, however exquisite. But take off the production costs and divide by the hundreds of hours that go into the conception, design and making, and it doesn’t match the return on, say, a Jeff Koons balloon dog. On some of his smaller pieces, such as his intricately constructed memento mori ‘Relic’ vase series, the return on invested time comes in at about £30 an hour. Larger commissions are more profitable: Still, “I don’t think anybody gets into furniture-making for the money,” Fish says. “You get into it for the creative freedom that it gives you.”

You can view the article here also; https://thedesignedit.com/in-the-studio/marc-fish/

[karoltabis]

In the opal mining red dirt of Andamooka, South Australia; a son faces the memories of the mysterious disappearance of his father in a great flooding storm, while the same storm appears on his own horizon. — The South Australian desert is a mystical place - millennia ago it was an ocean, and opalised aquatic dinosaur fossils are still found in the dirt there today. It is home to an arid land and deep, old magic. It is a place of endless sweeping salt flats and undulating flat red earth. Andamooka is where the frontier is, and the last of the great Australian frontiersmen call it home. The land is a stolen land, and a cursed land - and the magic of that wound has a unique way of working on the people that are born there new, and those who came before. — Executive Producers: Julianne English, Cameron Gray, Matthew Helderman, Johnathan Sheldon, Cameron Cubbison, John Rhodes, Angela Thompson, and Ian Thompson. Producer, Director & Writer: Matthew Thorne Producer: Steven Garrett Associate Producer: Zoe Edema Location Production Manager: Lara Lukich Location Logistics Coordinator: Katalin Wilby Director of Photography: Aaron McLisky Director of Photography (Pickups): Andrew Gough Production Designer: Benjamin Ashley Editor: Katerina Borys Sound Designer: Chris O'Neill VFX Supervisor: Pedro Motta Colourist: Daniel Stonehouse Original Music Composed by Luke Howard Album available online (via Mercury KX — Apple Music, Spotify, most other streaming services) Album available on vinyl (via Hobbledehoy Records — https://ift.tt/2KG99M3) First AD: Christopher Seeto Steadicam: Tim Walsh 1st AC: Chris Braga 2nd AC / Data Wrangler: Danielle Payne Gaffer: Max Gerschabach Grip: Martin Fargher Sound Recordist: Luke Fuller Art Director: Aisha Phillips Art Department Assistant: John Flaws Assembly Editor: Rolando Olalia Assistant Editors: Eliza Cox, Shannon Michaelas, Jana Plumm Compositor (The Refinery): Chris Betteridge Additional Sound Design: Daniel Mueller, Soren Maryasin Dialogue Editing: Brendan O'Neill Title Design: Nadeem Tiafau Kokatha Community Liaison: Glen Wingfield Editorial by The Butchery Sound Design by FrostFire Audio VFX by Push VFX Colour by Crayon DCP by Postlab.io Camera Equipment provided by Gearhead Opals Provided by Dukes Bottle House Motel & Andamooka Opal Showroom Catering by Tanya Simpson, Pippa Stafford and Charlie Sim Produced with the assistance of the ScreenCraft Short Film Grant & Bondit Media Finance Additional Cast: Stacey Dadleh, John Wilby, Paul Uhlik, Taj Gow-Smith, Clive "Spready" Spreadborough, Alan "Staffy" Stafford Heath, Stefan Bilka, Joe Sach, Drago "Tarzan" Antic, Val Harrison, Mash Clifford, Annie Uhlik, Jacinta Carrr, Tanya Simpson, Pippa Stafford, Claudia Mitchell, Greta Howard, Nikki Johnson Special thanks to Greg Franklin, Jack Hutchings, Matt Glasser, Freya Maddock, Jospeh Sach, Margot Duke, Simon Quilliam, Peter Taubers, Lester & Gill Rowley, John West, Clint & Jodie Gow-Smith, Stefan Bilka, Kendal Secker, Conan "The Barbarian" Fahey, Samantha Collings, Mandy Masters, Rebecca Dugan, Rachael Ford-Davies, Greg "Greggie" Franklin, Cowel Electric, APOMA, The Pool Collective, Andamooka SES, Andamooka CFS, Charle & Co. Coffee, Roxby Travel and Cruise, Andamooka Boo-Teek Op-Shop, Coates Hire Roxby Downs, Roxby Downs Motocross Club, The Tuckerbox & Staff For the community of Andamooka, South Australia.

[nadenemurray]

The Sand That Ate The Sea from Matthew Thorne on Vimeo.

In the opal mining red dirt of Andamooka, South Australia; a son faces the memories of the mysterious disappearance of his father in a great flooding storm, while the same storm appears on his own horizon.

—

The South Australian desert is a mystical place - millennia ago it was an ocean, and opalised aquatic dinosaur fossils are still found in the dirt there today. It is home to an arid land and deep, old magic. It is a place of endless sweeping salt flats and undulating flat red earth.

Andamooka is where the frontier is, and the last of the great Australian frontiersmen call it home. The land is a stolen land, and a cursed land - and the magic of that wound has a unique way of working on the people that are born there new, and those who came before.

—

Executive Producers: Julianne English, Cameron Gray, Matthew Helderman, Johnathan Sheldon, Cameron Cubbison, John Rhodes, Angela Thompson, and Ian Thompson.

Producer, Director & Writer: Matthew Thorne Producer: Steven Garrett Associate Producer: Zoe Edema Location Production Manager: Lara Lukich Location Logistics Coordinator: Katalin Wilby

Director of Photography: Aaron McLisky Director of Photography (Pickups): Andrew Gough Production Designer: Benjamin Ashley Editor: Katerina Borys Sound Designer: Chris O'Neill VFX Supervisor: Pedro Motta Colourist: Daniel Stonehouse

Original Music Composed by Luke Howard Album available online (via Mercury KX — Apple Music, Spotify, most other streaming services) Album available on vinyl (via Hobbledehoy Records — hobbledehoyrecords.com/store/luke-howard-the-sand-that-ate-the-sea/)

First AD: Christopher Seeto Steadicam: Tim Walsh 1st AC: Chris Braga 2nd AC / Data Wrangler: Danielle Payne Gaffer: Max Gerschabach Grip: Martin Fargher Sound Recordist: Luke Fuller Art Director: Aisha Phillips Art Department Assistant: John Flaws

Assembly Editor: Rolando Olalia Assistant Editors: Eliza Cox, Shannon Michaelas, Jana Plumm Compositor (The Refinery): Chris Betteridge Additional Sound Design: Daniel Mueller, Soren Maryasin Dialogue Editing: Brendan O'Neill Title Design: Nadeem Tiafau

Kokatha Community Liaison: Glen Wingfield

Editorial by The Butchery Sound Design by FrostFire Audio VFX by Push VFX Colour by Crayon DCP by Postlab.io Camera Equipment provided by Gearhead Opals Provided by Dukes Bottle House Motel & Andamooka Opal Showroom Catering by Tanya Simpson, Pippa Stafford and Charlie Sim

Produced with the assistance of the ScreenCraft Short Film Grant & Bondit Media Finance

Additional Cast: Stacey Dadleh, John Wilby, Paul Uhlik, Taj Gow-Smith, Clive "Spready" Spreadborough, Alan "Staffy" Stafford Heath, Stefan Bilka, Joe Sach, Drago "Tarzan" Antic, Val Harrison, Mash Clifford, Annie Uhlik, Jacinta Carrr, Tanya Simpson, Pippa Stafford, Claudia Mitchell, Greta Howard, Nikki Johnson

Special thanks to Greg Franklin, Jack Hutchings, Matt Glasser, Freya Maddock, Jospeh Sach, Margot Duke, Simon Quilliam, Peter Taubers, Lester & Gill Rowley, John West, Clint & Jodie Gow-Smith, Stefan Bilka, Kendal Secker, Conan "The Barbarian" Fahey, Samantha Collings, Mandy Masters, Rebecca Dugan, Rachael Ford-Davies, Greg "Greggie" Franklin, Cowel Electric, APOMA, The Pool Collective, Andamooka SES, Andamooka CFS, Charle & Co. Coffee, Roxby Travel and Cruise, Andamooka Boo-Teek Op-Shop, Coates Hire Roxby Downs, Roxby Downs Motocross Club, The Tuckerbox & Staff

For the community of Andamooka, South Australia.

[marketinghero]

Nike empowers female footballers in ‘Dream Further’ campaign: Women’s World Cup 2019 blog

3 June – Nike debuts electrifying Women’s World Cup spot

With the FIFA Women’s World Cup just days away, Nike has thrown its support behind the tournament by debuting the latest instalment of its Just Do It campaign. The ad features a wealth of female football stars including Australia’s Sam Kerr, Brazil’s Andressa Alves and China’s Wang Shuang.

‘Dream Further’, produced alongside Wieden + Kennedy Portland, was unveiled during the UEFA Champions League Final between Liverpool and Tottenham and continues Nike’s ‘Dream Crazy’ positioning.

During the stirring three-minute spot, 10-year-old Makena Cook is led by the hand around the pitch by the world’s top players where she’s seen successfully sidestepping various on-pitch challenges while playing out her dreams.

Set to a soundtrack of Joan Jett & the Blackhearts’ ‘Bad Reputation’, the ad sees a number of cameos from the likes of England footballer Alex Scott, who is seen making history by coaching the Barcelona men’s team to victory.

The pinnacle comes when Cook serves Kerr a perfect assist for a goal. It ends with the message ‘Don’t change your dream, change the world’. The story serves as a metaphor for how the current crop of world class female footballers can help lead and inspire the next generation.

Nike is also promoting its limited-edition ‘Dream Further’ jerseys – the first children’s football shirt specifically made for girls.

28 May – Lucozade rewrites ‘Three Lionesses’ to support the women’s game

Lucozade hopes its £2m campaign will help propel the Lionesses to household names.

As part of the campaign, created by Grey London, Lucozade has rewritten the popular England tune ‘Three Lions’ for the women’s team. It uses alternative lyrics to highlight the ongoing challenge of overcoming prejudices against women in sport.

The changes include swapping, “All those years of hurt never stopped us dreaming” to “that we don’t have the skill in their eyes. Well, we’re tired of the lies.”

Speaking to Marketing Week ahead of the World Cup, Lucozade Sport’s head of marketing Claire Keaveny said it wanted to incorporate the song into the campaign because it’s such an important part of football culture in England.

“It’s something so iconic and so part of the culture here, my hope is that the [re-written version] really disrupts people and makes them tune in,” she said.

Lucozade Sport is also supporting the Lionesses on its packaging by putting the faces and names of some of the Lionesses as it looks to make them “household names”.

“I truly believe that if the general public know who they are, and knows their stories, they’re going to tune in, which will help to raise the profile of the game,” Keaveny explained.

22 May – Head and Shoulders promises ‘equal footing’ for Lionesses

Procter and Gamble-owned hair care brand Head & Shoulders has promised “equal footing” for both men and women as part of its partnership with the FA.

Katharine Newby-Grant, P&G’s marketing director for Northern Europe, says the brand wants to “showcase” the Lionesses in its new campaign ‘Join the Pride’, which features TV presenter Claudia Winkleman as well as England stars Beth Mead and Keira Walsh.

“If you want to inspire future generations they need to see their role models, they need to say ‘that’s me and I can do that’. It’s a really important moment and there’s a lot more social consciousness and as a brand we felt compelled to take a stance on that,” she says.

In the ad featuring Winkleman, the shampoo brand asks England fans to sport the patriotic hairstyle modelled by the two Lionesses, Mead and Walsh. The ‘three lines’ – which can come in the form of cornrows and twists – is intended to represent the three Lions on spectators’ shirts.

“Firstly, it’s a platform for the players but we also want to help the fans engage. Where’s hoping it encourages them to visibly show their support for the Lionesses, it’s something than can bring them closer,” Newby-Grant adds.

18 May – BBC Women’s World Cup trailer encourages female footballers to ‘change the game’

The BBC recently launched its trailer for the FIFA Women’s World Cup in a bid to spotlight women’s football alongside the fact it has acquired the rights to every game in France.

The broadcaster is guaranteeing “full coverage” of the tournament across TV, radio and online and is promoting the competition with its ‘Change the Game’ campaign, paying homage to the 264 female footballers who will play in France.

The spot features some of the world’s most famous footballers from the UK and beyond, across a series of scenes focusing on their skills, athleticism and personalities.

London rapper Ms Banks has also combined forces to help create an anthem that intends to empower and inspire the next generation of women who might follow in these athletes footsteps.

In the trailer Ms Banks delivers lines such as, “in history her name she writes” and “busting down all the doors we ain’t even putting the keys in”.

Every game at the tournament will be broadcast live on the BBC, with all 52 matches from France shown across BBC platforms including BBC One, BBC Two, BBC Four, BBC Red Button, BBC iPlayer and BBC Sport online.

The post Nike empowers female footballers in ‘Dream Further’ campaign: Women’s World Cup 2019 blog appeared first on Marketing Week.

[aesallerie]

ig stories | like or reblog if was useful