The film shows an eight-minute drive through Paris in the early hours of the morning (05:30hrs), accompanied by sounds of a high-reving engine, gear changes and squealing tires. It starts in a tunnel of the Paris Périphérique at Porte Dauphine, with an onboard view from an unseen car exiting up on a ramp (and from there following this route) to Avenue Foch. Well-known landmarks such as the Arc de Triomphe, Opéra Garnier, and Place de la Concorde with its obelisk are passed, as well as the Champs-Élysées. Pedestrians are passed, pigeons sitting on the streets are scattered, red lights are ignored, one-way streets are driven up the wrong way, center lines are crossed, the car drives on the sidewalk to avoid a rubbish truck. The car is never seen as the camera seems to be attached below the front bumper (judging from the relative positions of other cars, the visible headlight beam and the final shot when the car is parked in front of a curb on Montmartre, with the famous Sacré Cœur Basilica behind, and out of shot). Here, the driver gets out and embraces a young blonde woman as bells ring in the background, with the famous backdrop of Paris.

1976 / 08:35 / FR

In 1927 legt Hans Richter de eerste stenen voor stop-motion en special effects in een surrealistisch-dadïstische kortfilm: Vormittagstuk (Ghosts at Breakfast). De nazi’s vernietigen onder het moto ‘entartete kunst’ de originele soundtrack van Paul Hindemith maar gelukkig blijft de pellicule van de film bestaan. De muziek van LCDD, Los Caballos De Düsseldorf (Maybe one day we will tell you the story behind the LCDD name, by now you can translated it as Los Caballos De Düsseldorf (The Düsseldorf Horses), Les Couilles Du Diable, Long Counting Decibel Distortion, Lets Craze Da Doorag, or whatever you make out of it or whatever fits better...) geeft de film zijn experimentele en bevreemdende karakter weer hedendaagse glans?

1928 / 06:33 / D

Andy Warhol (be)schildert een BMW… and doesn’t even look at the car. ‘t idée is dat de kleuren zich wel zullen mengen, wanneer de auto in volle snelheid is. In 1979 werd deze auto gebruikt voor de 24uren van Le Mans en staat ondertussen ergens in BMW-museum schoon te wezen.

Is a 1964 Nouvelle vague film directed by Jean-Luc Godard. It was released as Band of Outsiders in North America. The film is an adaptation of the novel Fools' Gold (Doubleday Crime Club, 1958) by American author Dolores Hitchens (1907–1973). The film belongs to the French New Wave movement. Godard described it as "Alice in Wonderland meets Franz Kafka". A minute of silence: In one scene, Arthur, Franz, and Odile are in a crowded café and decide to observe a minute of silence; as they do so the film's soundtrack is plunged into complete silence. This silence actually lasts only 36 seconds and is interrupted by Franz, who says "Enough of that." The Madison scene: Shortly after, Odile and Arthur decide to dance. Franz joins them as they perform a dance routine. The music is R&B or soul music composed for the film by Michel Legrand, but Anna Karina said the actors called it "the Madison dance." This scene influenced the dance scene with Uma Thurman and John Travolta in Quentin Tarantino's Pulp Fiction. A further Tarantino connection is in the name of his film production company, A Band Apart.) It also influenced scenes in Hal Hartley's Simple Men and Martin Hynes' The Go-Getter The entire dance scene was also used as the music video for the song "Dance with Me", by the music group Nouvelle Vague from their 2006 album Bande à Part. The group took their name from a scene in the movie, where Odile and Arthur are walking on a street and pass a business with Nouvelle Vague (New Wave or New Trend) in large letters over the door. They also named their 2006 album after the title of this film.

1964 / 06:33 / FR

Jean Prouvé in 1954 build this house in six weeks, for his wife and children. Constructed with prefabricated elements, the home of Jean Prouvé in Nancy opens the era of cheap houses prix.Ingénieur self-taught architect without diploma, Jean Prouvé was born in 1901. In a France where concrete is king, Prouvé is the man of metal, then folded sheet of aluminum. From the 30s, he designed several models of houses at low prices, and mounting kit self, ready for mass production. But none of these prototypes do leads to real orders. The France of stone and concrete is too modern, too simple what was then called disdainfully machines live. In 1953, Prouvé loses control of his factory, his life's work. He embarks on building his own house, on land located on heights of Nancy deemed unbuildable because of its very steep. Jean Prouvé dreamed of creating houses as beautiful and rational as airplanes. In 1953, while undergoing the worst crisis of his life, he built his own house. Created in a rush, it nonetheless incarnates his most groundbreaking ideas.

2004 / 24:00 / FR

Deze website is ontwikkeld en wordt beheerd door uploaddowntown. De webredactie heeft zijn uiterste best gedaan om ervoor te zorgen dat de verstrekte informatie en informatie van derden waar naar wordt verwezen volledig en juist is. uploaddowntown kan echter niet verantwoordelijk worden gehouden voor de onvolledige of onjuiste informatie die via deze website wordt verkregen. uploaddowntown aanvaardt dan ook geen enkele aansprakelijkheid voor directe of indirecte schade ontstaan uit het bezoek en gebruik van deze site en de informatie die op de site wordt gegeven, danwel voor enige schade ontstaan door het openen, opslaan of gebruik van via deze site verkregen bestanden van welke aard dan ook. Het gebruik van informatie welke verkregen is via deze website gebeurt ten alle tijden voor risico van de gebruiker. uploaddowntown heeft zijn uiterste best gedaan om bronnen en rechthebbenden van beeldmateriaal dat wordt gebruikt te achterhalen en te vermelden. Wanneer desondanks beeldmateriaal wordt getoond waarvan u (mede)rechthebbende bent en voor het gebruik waarvan u niet als bron of rechthebbende wordt genoemd, ofwel voor het gebruik waarvan u geen toestemming verleent, kunt u zich in verbinding stellen met uploaddowntown. Deze website heeft een educatief, non-commercieel karakter. Indien u van mening bent, dat van bepaalde werken uw intellectueel eigendomsrecht wordt geschonden, kunt u dit melden via info@uploaddowntown.be

Pixels is a short movie by Patrick Jean, in which pixels attack the city in New York in the form of well known classic coin-op enemies. The pixels escape from an old discarded TV, by forming a character, dropping an 8-bit bomb, shattering the tube. Once escaped they attack the city, forming a wide range of enemy characters, including Space Invaders, Donkey Kong, Pac Man, Break Out, and Tetris, turning the city into pixel bricks.
At first, the destruction is fairly mild, with several Space Invaders enemies hovering the city, dropping bombs on cars, which shatter in a million pixel blocks. When the pixel stream enters the subway, they line up on the tube, chomping up stations in true Pac Man style. The movie continues, with each enemy type destroying buildings, cars and bridges in their own typical style. The video ends with total pixellation, followed by an end-credit in true coin-op style, including a 'CREDITS 00' sign.
The video, which is a little over two and a half minutes long, was produced by production company "One More Production", while Patrick Jean takes the honors of writing and directing the video, and tributing to the special effects of the video. The video was uploaded to youtube.com on April 7, 2010.

2010 / 02:35 / FR

THE VISUAL LANGUAGE OF HERBERT MATTER is a revealing look at the fascinating life story of the highly influential mid-century modern design master. Known as a quintessential designer's designer, Swiss born Herbert Matter is largely credited with expanding the use of photography as a design tool and bringing the semantics of fine art into the realm of applied arts. Inspired by Russian constructivists and taught by artists such as Fernand Léger, Le Corbusier, and A.M.Cassandre in Paris in the late 20s, Matter designed a series of cutting-edge Swiss travel posters that won international acclaim for the pioneering use of photo-montage combined with type. Always striking a balance between fine art projects and commercial work, the taciturn designer found his own unique language, which resulted in the creation of such iconic works as the corporate identity for Knoll Associates and the New Haven Railroad. With his photography he was adept in documenting the early furniture of Charles and Ray Eames and creating covers for Vogue and Arts & Architecture as well as documenting his contemporaries Jackson Pollock, Willem de Kooning or Alberto Giacometti. As a filmmaker, he directed a critically acclaimed film "Works of Calder" about his good friend Alexander Calder, with music composed by John Cage. Later in life he was a professor for photography and graphic design among Paul Rand and Josef Albers at Yale University. In today's commercialized and oversaturated world, the documentary directed by Reto Caduff ("Charlie Haden - Rambling Boy", "A Crude Awakening") lets luminaries such as Robert Frank, Massimo Vignelli, Alvin Eisenman, Steven Heller, Elaine Lustig Cohen and others explain why Matter still matters. Through never-before-seen footage, personal photography and stunning graphic design work, the film explores the social and cultural impact of his personal visual langauge that influenced a whole generation of designer and artists.

2010 / 15:00 / USA

"DVNO" is an electronic dance single by the band Justice from their album †. According to band member Xavier de Rosnay, "DVNO" stands for "Divino". de Rosnay states, "In most suburbs of the world, in every city, there's most of the time, a nightclub called El Divino...sometimes... Clubs where you have to wear a white shirt to get in, half the time." The vocalist featured in the song is Mehdi Pinson from the band Scenario Rock, under the pseudonym of DVNO. The song was featured in the 2007 film Hitman directed by Xavier Gens. It is playing as the Hitman enters the lair of Udre Belicoff. The song was also used in a commercial for the Discovery Channel in 2007. The song was released on May 19, 2008 in the United Kingdom and was given substantial airplay. The song was added to Radio 1's B List playlist.

2008 / 03:00 / FR

The Hungarian composer György Ligeti composed Počme Symphonique for 100 metronomes in 1962, during his brief acquaintance with the Fluxus movement. The piece requires ten "performers", each responsible for ten of the hundred metronomes. The metronomes are set up on the performance platform, and they are all then wound to their maximum extent and set to different speeds. Once they are all fully wound there is a silence of two to six minutes, at the discretion of the conductor, then at the conductors signal they are all started as simultaneously as possible. The performers then leave the stage. As the metronomes wind down one after another and stop, periodicity becomes noticeable in the sound, and individual metronomes can be more clearly made out. The piece typically ends with just one metronome ticking alone for a few beats, followed by silence, and then the performers return to the stage (Ligeti 1962). The controversy over the first performance was sufficient to cause Dutch Television to cancel a planned broadcast, replacing it with a soccer match (Ligeti 1997, 10). Ligeti regarded this work as a critique of the contemporary musical situation, but a special sort of critique, since the critique itself results from musical means. … The "verbal score" is only one aspect of this critique, and it is admittedly rather ironic. The other aspect is, however, the work itself. … What bothers me nowadays are above all ideologies (all ideologies, in that they are stubborn and intolerant towards others), and Počme Symphonique is directed above all against them. So I am in some measure proud that I could express criticism without any text, with music alone. It is no accident that Počme Symphonique was rejected as much by the petit-bourgeois (see the cancellation of the TV broadcast in Holland) as by the seeming radicals.... Radicalism and petit-bourgeois attitudes are not so far from one another; both wear the blinkers of the narrow-minded. (Ligeti, cited in Nordwall 1971, 7–8) The Počme symphonique was the last of Ligeti's event-scores, and marks the end of his brief relationship with Fluxus (Drott 2004, 222).

1962 / 08:00 / H

British think-tank Demos teamed up with creative agency Airside to create “The Power Gap,” a three-minute visual essay that surveys the history of power structures in Western society and posits an atlernative to the de facto oligarchies that rule most of our lives. This is typically the sort of stuff that professors in tweed jackets deliver to a classroom full of half-sleeping pupils. Airside knew this and had to come up with a strategy that would actually hold viewers’ interest for the full animation. The three prongs of an effective visual essay are education, persuasion and entertainment. “The Power Gap” has all three in spades. Says Airside: The designers began work on character design, based on simple pictograms that, besides being a classic staple of information graphics, would signify the everyman nature of the data. But it soon became obvious that while this approach would fulfill its function of explaining the various aspects of the survey, it was also quite boring. A series of voice-over explanations with some accompanying pieces of animation would be more like a pretty lecture and seemed unlikely to get its intended audience thinking about the subject for themselves. The Right Dosage of Entertainment
One important caveat: The need to entertain an audience is inversely proportional to an audience’s interest in a given subject matter. That’s why, for example, Jonathan Jarvis’ “The Crisis of Credit Visualized,” was so successful, despite the animation being (to borrow Airside’s words) little more than “[a] series of voice-over explanations with some accompanying pieces of animation.” Jarvis’ work was directed at a nation (perhaps a world) of people suddenly adrift in a confusing morass of financial terms. We wanted—even needed—to understand what the hell was happening, and Jarvis struck just the right level of entertainment value. Any more and we might have doubted Jarvis’ sincerity. There’s a fine line between lightness and levity, and Jarvis knew just where it draw it. “The Power Gap,” on the other hand, is about something most people have never deeply considered, despite how pervasive and potent it is. Airside deftly used the jester’s tactic to reach its audience: humor mixed with equal parts profundity. The design and the narrative are simple enough to be swallowed on the first viewing but loaded with enough significance that fully digesting them requires time and—here’s the rub—thought. “The Power Gap” was created for “THINK TANK: A marketplace of ideas,” an exhibition at the Northern Gallery for Contemporary Art in Sunderland, UK. Read Airside’s explanation of the creative process behind the work.

2009 / 03:00 / UK

Back in the early 1980s, Dieter Rams was becoming increasingly concerned by the state of the world around him – “an impenetrable confusion of forms, colours and noises.” Aware that he was a significant contributor to that world, he asked himself an important question: is my design good design? As good design cannot be measured in a finite way he set about expressing the ten most important principles for what he considered was good design. (Sometimes they are referred as the ‘Ten commandments’.)

2010 / 07:00 / D

Reid Miles (4 July 1927 – 2 February 1993) was an American graphic designer and photographer. Reid Miles was born in Chicago on 4 July 1927 but, following the Stock Market Crash and the separation of his parents, moved with his mother to Long Beach, California in 1929. After high school Miles joined the Navy and, following his discharge, moved to Los Angeles to enrol at Chouinard Art Institute. After working in New York in the early 1950s for John Hermansader and Esquire magazine, Miles was hired in his own right by Francis Wolff of the jazz record label Blue Note to design album covers from about 1955, when the label began releasing their recordings on 12" LPs. Miles designed several hundred covers, frequently incorporating the session photographs of Francis Wolff and, later, his own photographs, although many of his later designs dispensed entirely with photographs.Miles wasn't particularly interested in jazz, professing to have much more of an interest in classical music, but used the descriptions of the sessions relayed to him by producer Alfred Lion to create the artwork. Lion's retirement as a record producer in 1967 coincided with the end of Miles' connection with Blue Note. "Fifty Bucks an album...they loved it, thought it was modern, they thought it went with the music...one or two colors to work with at that time and some outrageous graphics!".

2010 / 01:00 / USA

The rent is due and Chelsea art dealer Jim Kempner helps a client find a fresh and original wedding gift. One Balloon Dog by neo-pop artist Jeff Koons remains in Jim’s possession. Could this be the perfect gift? Or will the client’s dreams of attaining the perfect wedding gift be shattered?

2010 / 06:38 / USA

Yu Suzuki is a Japanese game designer and producer who has spent his entire career with Sega Enterprises. Often referred to as Sega's answer to Shigeru Miyamoto, he has been responsible for the creation of many of Sega's most important arcade games such as Hang-On, Out Run, After Burner II, Virtua Fighter, Daytona USA and Virtua Cop as well as the Shenmue series for the Dreamcast. In 2003, Suzuki became the sixth person to be inducted into the Academy of Interactive Arts and Sciences' Hall of Fame. IGN listed him at #9 in their Top 100 Game Creators of All Time list. OutRun was created in 1986 by Yu Suzuki. Yu Suzuki was (at the time) an employee of Sega for only 2 years before he decided to make this arcade classic. But where does one find the inspiration for such a care-free, beautifully crafted, eardrum massaging masterpiece? American Cinema of course. He got the idea for OutRun while watching the 1981 Burt Reynolds movie The Cannonball Run..

1986 / 02:00 / JP

A gang in a Volvo have staked out a flat; when its occupants leave to walk their dog, the six break into the place. One keeps his eyes on a stopwatch: they have only ten minutes before the couple returns. Instead of stealing things, the gang goes from room to room making fascinating percussive music with found objects: first in the kitchen, then the bedroom, the bathroom, and the salon. Cabinet doors, pot lids, light switches, a pill dispenser, a lamp, books, and a vacuum cleaner hose all add to the suite in four movements. The drummers keep the first three rooms tidy, but what will the flat's occupants make of the hurricane that hits the living room?

2001 / 09:50 / SE

A nice Dutch family goes for a drive listening to a song in English. The TV Commercial titled A DAY TRIP was done by Pmsvw / Young & Rubican Netherlands advertising agency for brand: Soesman Language Institute. (music by The Outhere Brothers)

2001 / 00:41 / NL