1. vhxtv:

    Embrace the idea of releasing your work yourself, without a film distributor or record label or book publisher or other middleman involved. Don’t listen to people who try to convince you that you need them in order to get your work out there. You don’t. 

    The Internet is such an incredible gift to creative artists, one that allows us to reach the people who want our work directly. But I’m amazed at how quickly some people want to give that gift back and let someone else control how their art reaches the audience, and how they’re compensated for that art.

    Build a direct relationship with the people who want to see your work, and run your own small company to produce and distribute it. I know, to some of you that doesn’t sound like a good thing. But it is. You might be thinking, I don’t want to be a businessperson. I’m an artist; I just want to focus on the creative stuff. Well, if you want to keep creating, you need to know where the funds are coming from. I know it sounds like a lot of work and responsibility dealing with the business issues yourself, but you’ll be much more knowledgeable about your industry if you learn how it works through doing it.

    Yes, it would be convenient to hand off these responsibilities to someone else. But if your goal as an artist is to be self-sustaining - that is, to be able to work on whatever projects you want to without anyone else’s approval, and be able to make a living from that work - then I don’t really see any alternative. A catalog of work that you create over your career, and that you retain full rights to, is a long-term asset that will continue to benefit you in ways you can’t even imagine right now.”

    -Filmmaker Gary Hustwit in Tell Me Something: Advice from Documentary Filmmakers

     

  2. "We need, in love, to practice only this: letting each other go. For holding on comes easily; we do not need to learn it."
    — Rainer Maria Rilke (via cosmic-rebirth)

    (via monaeltahawy)

     
  3. (Source: madtess, via fuckyounofuckme)

     

  4. drewvigal:

    In the fall of 2012, I announced my departure from The New York Times to join Second Story Interactive Studios. In that post, I alluded to my reinvention with the expectation of working in…

    a space between the spectrum of traditional news media on one side and the unfiltered social web in…

     

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  6. mileycyrustwerkingonreality:

    Investigative journalist Jeremy Scahill is pulled into an unexpected journey as he chases down the hidden truth behind America’s expanding covert wars.

    http://dirtywars.org/

     

  7. My favorite Cary Tennis advice

    It is recommended first of all that you do not lose your cadence, that
    lovely something in your voice, and also that you patent what you’ve
    got and bottle it for later because it’s a long trip and you may run
    out; also that you write a chapter of your memoirs now before you
    forget, and that you continue to break rules wherever they conflict
    with your stated intentions; that you operate a voting machine not
    only when moved to do so by principle or amusement but in accordance
    with the general expectations of a democracy, and be sure to visit
    Paris; also that you quit any job that does not please you and if you
    have been thinking of taking up the mandolin or the banjo, do it now.

    It is also recommended that you be sure to remember not to forget to
    eat the things that agree with you, and that if you have not yet found
    the clothes that match all the variations of your spirit, you do so.

    There is much to do, much ground to cover, much equipment to pack. The
    rest of your life is bigger than the rest of a sandwich. You can see
    all of a sandwich but you can’t see all of your life. It has a
    horizon, but it’s not round like the earth. If time were round, then
    you could get up high and see farther over the edge, but we don’t know
    exactly what the shape of time is, do we? Time is warped in some way,
    we feel certain of that. You can get high enough to see over the
    horizon, but you can’t get high enough to see the future.

    So you pack for the unforeseen. You pack the best you can. You take a
    camera and plenty of film. You take medicine and contact information
    and you make a list of the mantras you’ve been given, the mantras that
    work, and the places you are drawn to that you know you must visit
    along the way. Some people are drawn to Tahiti; me, I think I have to
    see Cape Horn because I am drawn to the kind of treacherous passage
    where a sailor is reefing the jib with ice in his beard. I am drawn
    like a child to the image of a crossing — the crossing of a river,
    the crossing of an ocean, the spanning of a distance, the arrival in a
    strange land.

    And that’s what you’re doing when you’re talking about the rest of
    your life, isn’t it? You’re talking about a planned arrival in a
    strange land. So as I said, you pack carefully.

    That doesn’t tell you much about practical matters, and I can see that
    you are already getting upset with me again. So I can say this:

    Do not arouse the ire of wives. They will bring ruin down on your
    head. Keep doing what you are doing, but restrain yourself where the
    making of enemies is concerned.

    Have a regimen and a routine, a thing you do that always works, so
    that you can always do it when people fail you. It’s something
    different for everybody. If you don’t have anything that always works,
    find something and perfect it — a certain drink that never fails, a
    song that gives you goose bumps, a certain walk on a certain path that
    always elevates your spirits, a meditation that always calms you, a
    food you always like to eat.

    You need somebody you can always call, too, but people will change and
    even if they stay the same they die, and then they’re gone. You can’t
    depend on them. You need more lasting bulwarks. You will find a
    favorite meeting you always like to go to and then everyone will buy
    houses and move away. You will find a friend who promises you things
    and doesn’t come through. So a practice that always works must be
    solitary or of the earth or of the mind; people will change and let
    you down. You need something older than people.

    So live near a river or a mountain or a stream. Live near something
    you can walk to where you go, Ah.

    List these things so you don’t forget them. Write them down, so when
    you’re stuck you can go down the list and say, OK, the chocolate
    mousse that always worked is not available right now because it’s 2
    a.m. and the mousse is available at a certain restaurant in Paris and
    I am not in Paris. I am in Austin at the Broken Spoke about to lose my
    wheels. You go down the list. A certain walk around Land’s End in San
    Francisco: ditto, you’re not there, and it’s too late to fly there.
    You keep going down the list, which you keep in your purse, until you
    find a thing you can do that will work: somebody you can always call
    to cheer you up. So even though it’s 2 a.m., you make the call and
    wake the person up and talk for a while, explaining as you do that the
    person is on your list of people you can call when nothing else will
    work.

    I know this isn’t very practical, but I don’t even know where you’re
    going. So you have to choose, not me. All I’m saying is, take the time
    to choose wisely. Be frank with yourself. Don’t take a Bible if you’re
    not a Bible reader. Don’t take sunscreen if you never put it on.

     
  8.  
  9. (Source: upiangif)

     

  10. Hacking Interactive Online Video Stories at Popathon Hack Jam

    philovankemenade:

    image

    This Saturday, Gilles and I invited filmmakers and web developers to the first Popathon Hack Jam at the London Mozilla office. The event was born out of the wish to bring together two worlds that have a unique opportunity for collaboration, powered by the enormous potential for interactive storytelling on the web. A key technology that enables this kind of collaboration is Popcorn.js, which led us to focus on this JavaScript library to create prototypes of interactive online video stories. Although Gilles and I always ensure making is the main focus at our interactive video workshops, a recurring piece of feedback is the wish to get more hands-on and work on projects. We tried to facilitate this by combining a morning of workshop elements with an afternoon of time-constrained hacking.

     

     

    Crafting Each Other’s Stories

    The introduction round at the start of the day nicely showed we were going to be up for a true interdisciplinary adventure. Among the 30 or so participants were documentary filmmakers, javascript superstars, videographers, researchers, hackers, students and multimedia artists, sometimes all the way from Manchester, adding to the fertile mix of skills and ideas. In a couple of rounds of speedy person to person hyperlinking, we shared our best online story experiences and gathered a wall of post-it-mediated inspiration.

    image

    [Photo courtesy of Michele Bonechi]

    Gilles and I wanted everyone to leave at the end of the day with a newly acquired skill, and after a quick walk-through of Popcorn Maker, we gave out the first challenge of the day:

    Form pairs and craft each other’s story by enhancing your favorite music video with at least 3 types of events

    Read More