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Recent advances in animation have made the medium a useful instructive tool. Before becoming an animator, Lingford studied anatomy and physiology in order to work as an occupational therapist. When she was later asked to animate medical diagrams, she found she did not fully understand the mechanisms she’d once committed to memory. “We have that kind of experience all the time,” Lue says. “When you are asked to storyboard something, you find the gaps in your understanding. Any kind of visual representation—exercises in which students...
After graduation, Louie worked in marketing at “Time Magazine,” in Internet development at a consulting firm, and in the business department of “Sports Illustrated Online,” among other jobs. When asked about whether she found all of her experience useful, she explained that she found them all instrumental in giving her skills and abilities to become a successful producer...
Unsurprisingly, some of the album’s more memorable lyrics, driven by upbeat but repetitive guitar chords, are found here. On “Falling In,” frontman Jason Wade sings, “Every time I see your face / My heart takes off on a high speed chase,” and promises, “I would never do you wrong / Or let you down or lead you on.” “Halfway Gone” takes up a similarly melodramatic theme, Wade singing, “Talk, talk is cheap / Give...
...demonstrated by these recordings, Parra found innovative ways of approaching physics as a musical subject. As the son of a physics professor, he was anxious to integrate his varied interests through this project. Throughout the panel, Parra described how he thought about “warping” music—manipulating elements like tempo and pitch to alter the “mass” of any given note or dilate the listener’s sense of temporality. The resulting sound he produced is quite unique—unsettling, arrhythmic, and as inscrutable as the hidden dimensions that...
...numbers, rockers, and soulful, sometimes morose pop songs, drawing endless comparisons to classic indie bands like Built to Spill and The Shins. Before their 2007 follow-up, “Asleep at Heaven’s Gate,” they were dropped by their Sub Pop label, but found a home with Jack Johnson’s Brushfire Records. That album found them moving in a new direction, embracing a more highly produced aesthetic that used studio effects to create a spacey and dreamy sound...