New forms of art make us so excited we wet our pants. We know, we know. That was an uncouth way to start an article, and is certainly not one that entices you to want to watch this video. Please ignore our lack of class, because this right here is an artwork that is beyond cool.

“Future Self” is the title of the piece, and this is a video which follows the process behind its creation. The work has been made by the creative collaboration rAndom International and commissioned by MADE, a gallery/working studio in Berlin. It also features composer Max Richter and choreographer Wayne McGregor who both contribute to the piece by providing an interpretation through music and through a performative dance piece.

Too many cooks may spoil a broth, but you can never have enough creative types. MADE calls the involvement of Richter and McGregor an “interdisciplinary clash”, but that isn’t really true. The three groups involved in the project work in perfect harmony to realise their respective and combined creative vision.

Don’t ask us about the tech specs. Digital art is far beyond the understanding of our puny minds; we’re just so incredibly glad that there are people out there who do understand and can create beauty from electricity. Let’s just say that somehow the rI guys have figured out how to wire up a whole bunch of LEDs to computer software which are then activated by motion sensors. The resulting shapes that light up in the “Future Self” prism are hauntingly beautiful; some look human, some are bands of light that fade in and out of sharpness.

The involvement of McGregor was a stroke of genius. It has enabled this piece to be tested in an artistic way, not just leaving it up to a bunch of fools (like us) who wave their arms around in front of it for a giggle. If nothing else, the dance piece around “Future Self” is a must-see.

The exhibition is still on at MADE until 2 June. Check here for precise days and times.

So we watched this video like 4 times and still have no idea what the shit the smart science man is saying. The only piece of solid information we can ascertain is that holograms are becoming A REAL LIFE THING. Well, maybe not real life, but pretty bloody close.

With the world still basking in the glory that was Tupac 2.0 at Coachella this year (Mariah Carey’s hologram must be feeling pretty pissed off right now), Microsoft have recently revealed new technology that is catapulting us head first into The Future; where everyone drives flying cars and wears silver spacesuits. We’re not even going to attempt to put this in our own words… According to Microsoft Researcher Hrvoje Benko “We’re combing 3D scanning… With 3D projections to basically make the space you interact with completely 3D and physical”. Cool. So when can we start having dance offs with hologram versions of ourselves? Although the idea and development of holograms has actually been around for quite some time, we must admit that technology is seriously starting to scare the shit out of us.

If Microsoft is potentially bringing us accessible hologram technology, does that mean Apple is about to release an app that will actually resurrect Tupac from the grave? Maybe they’ll just do silver streamlined version of the viewing glasses.

Alt-rock lovers rejoice. The Temper Trap is back with a new album and a whole new set of songs set to make you feel like going on a road trip and staring intensely out the window. Jokes aside, the Aussie boys have just released a sneak peak into the studio during the making of the song ‘Trembling Hands’.

The clip shows new member Joseph Greer talking about how the song came together, from its initial stages as a simple guitar riff, through the addition of the piano and then into the studio. Produced by Tony Hoffer in L.A., their self-titled new album is being released on May 18th in Australia and will be staggered across the world until the final US release on June 5th.

While it’s not a very long promo, there is just enough to pique your interest and want to hear more. Dougy Mandagi’s soaring, operatic voice promises great things. If you want more, you can go and hear about the album through their EPK here and watch their first track release “Need Your Love” here.

TTT are touring throughout Europe, Australia and America until August so cross your fingers and check your city over here.

[via Spin].

Your adorable, quirky thing of the day is this mechanized miniature of Disney Land’s Main Street Electrical Parade. With miniatures by Robert Olszewski, listening to an explanation of the process of shrinking down the Main Street Electrical Parade to fit inside a living room is rather captivating. The miniatures were mechanised by Alex George, who also made the video. There’s something pretty whimsical here, as with all Disney by-products, and listening to an adult talk with such excitement about something so generally associated with children is completely endearing.

This week on VICE’s Munchies Christina Tosi, the culinary genius behind New York’s Momofuku Milkbar, hit the road with the “wonder women” who operate behind the scenes of one of the city’s most recognisable names in dining. We spoke exclusively to Christina about the new episode, road tripping with the ladies in the name of food and being a woman in a man’s industry…

Portable: How did you come to be involved with VICE and Munchies?

Christina Tosi: We’ve been adoring fans of both VICE and Munchies since Dave’s episode nearly 4 years ago.

P: Why did you decide to work with VICE? Where are the parallels between your work and what VICE does?

Christina Tosi: VICE has a great casual approach to life and a sense of humor and wonder that are very much what makes milk bar tick and tock.

P: Tell us about the Momofuku road trip for Munchies. How did you come up with this idea?

Christina Tosi: We wanted to create our ideal deal off. A great deal of our our approach to life hasn’t changed since we were 15 years old, so it was only fitting to hit up our favorite spots to keep it real and fresh and young (we are nearing our 30s if not already well into them). DQ seemed like an obvious, I’m always SO entranced with their model, and the straightforward approach: here are your salty fries, here’s your sweet, sweet, blizzard. Fun and games on the beach never gets old, and putt putt golf and an old fashioned tail gate just seems like the perfect way to end a day with your besties.

P: Have you ever made a video like this before?

Christina Tosi: Nope.

P: What did you learn on the road?

Christina Tosi: You can squeeze a hell of a lot of fun into a day before the sun goes down.

P: What’s it like being a woman in the restaurant business? And as a chef? This is overwhelmingly a man’s world (but then, which world isn’t, right?)?

Christina Tosi: I realize I’m a girl, but I don’t really let that be my crutch and never have. I’m a hard worker, so I always kept my head down and drove my way to the top, whether in a room full of ladies or a kitchen full of men.

P: How do you see food culture changing with the advent of online/new technology? Is there pressure for you to stay “relevant” in the web sphere, or are people still happy to keep their dining experience separate from this?

Christina Tosi: I think there are so many ways to approach adaptation to the world around us changing- it’s almost as though you’re exhausted before you even try to begin keeping up. We just focus on staying true to us and who we are, that’s what got us here and hopefully that’s what will keep what we do special, honest and legit.

P: If we could only try one thing on the menu at Momofuku Milk Bar, what would that be?

Christina Tosi: Cereal milk soft serve with cornflake crunch. It still gets me every time.

There is only one TV comedy show we can stand reruns of more than once. That show is Friends. We may know all the lines off by heart, and we may have pie charts of which Friends have swapped bodily fluids with which other Friends, but trust us — true comedy gold never gets old. Now just in case you were thinking there is nothing to milk out of the show anymore other than Friends-a-thons and screenings of the various films featuring ex-cast members — from the perfect Office Space to the less than illuminating The Ron Clark Story — you would be laughably wrong.

Former NBC president Warren Littlefield is releasing a new book on the history of the television network during the 1990s wonder years of Friends. He adapted part of the book for Vanity Fair recently, but if seven pages of text is a drag we understand entirely. Read on for the best bits of the best bits of Littlefield’s Friends moments, taken straight from the horse’s mouth.

Matt LeBlanc on his studio test: “It was between me and this guy — his last name was Yeager, I think. He was dressed in a denim jacket, jeans, cowboy boots. I think he had a cowboy hat with him, but he didn’t have it on. I looked at him and thought, One of us is way off the mark. God, I hope it’s you.”

David Crane on Matt LeBlanc: “Joey was never stupid when we pitched the show. He wasn’t stupid until we were shooting the pilot, and somebody said, ‘Matt plays dumb really well.’”

David Schwimmer on the rapport: “The miracle is the casting. Having been on the other side of it now in terms of directing and producing, to find one magical actor who is just right for the role is difficult enough, but to find six and then to have them actually have chemistry with each other is just kind of a miracle. I think we were just lucky. I looked at the five of them, I watched their work, and I thought, Everyone is just so talented and perfect for their character. And they grew into their characters and enriched them and deepened them.”

David Crane on pitching it to the director, Jimmy Burrows: “The first four minutes of the pilot were just the group sitting in the coffeehouse talking about nothing. Chandler has had a dream. Ross comes in, and he’s mopey. It’s just talk. There’s no movement. There’s no story. When Jimmy read it in our first meeting, he said, ‘It’s great. It’s radio.’ The fact that he got that and embraced it made all the difference.”

Lisa Kudrow on Courteney Cox: “There’s a code with actors. Actors don’t give each other notes under any circumstances. So she was giving us permission to give her notes, and we all agreed that that would be great. Why not? And she also said, ‘Listen, you know, we all need to make this thing great.’ She just set the stage with: ‘I know I’m the one who’s been on TV, but this is all of us.’ She was the one who set that tone and made it a real group that way. And I thought that was a real turning point.”

Jim Burrows on celebrating the pilot’s success: “Based on the [live] audience for the Friends pilot, I knew how popular that show would be. The kids were all pretty and funny, so beautiful. I said to Les Moonves, who was head of Warner Bros., ‘Give me the plane. I’ll pay for dinner.’ I took the cast to Vegas.”

Matt LeBlanc on the commitment: “It wasn’t like we were in college together. We were on a giant fucking television show together. Everybody worked really hard. Lisa Kudrow said it best. She said that she worked harder on these relationships than she did on her marriage.”

John Agoglia (former head of business affairs, NBC) on negotiating contracts: “We convinced ourselves that we’d be better off with the cast if we recognized their success early instead of waiting until their contracts ran out. Chemistry was crucial to that show, and it was important to keep the cast happy. We started giving them raises as they were going along. At one point David Schwimmer’s mother convinced the cast to negotiate as a group. She’s a prominent divorce attorney. Her license plate is EX BARRACUDA.”

Marta Kauffman on The Couple: “The Ross-and-Rachel thing was fascinating. My rabbi, when I dropped my daughter off for Hebrew school, would stop me and say, ‘When are you going to get them together?’”

David Crane on writing the final season: “We talked about doing a qualified ending… they’re not together together, but there’s the hope they can be together. We said, ‘Fuck it. We’ve jerked these people off for 10 years. Who are we kidding? We’ve just got to do it well.’”

Matt LeBlanc on his Friends: “There’s only five people in the world who know exactly what being on Friends was like, other than me. There’s five of them. David, Matthew, Lisa, Courteney, and Jen. That’s it. Marta and David were close, but when they left the stage, no one knew what they did. We could never leave the stage, metaphorically speaking. Still can’t. Still on that stage. That will follow us around forever.”

[via Vanity Fair]

“Let’s leave no ass unfucked”: the words of a modern day fairy tale! Actually, it’s what St. Vincent’s drummer says every time before they go on stage. We learnt this in Noisey’s first episode of “Back and Forth”, featuring Annie Clark from St Vincent and Merrill Garbus from tUnE-yArDs sitting down together and chatting “like two humans” in a refreshingly friendly and informal setting.

Surprisingly, having two of the most impressive female musicians today interacting in the same frame will not cause your computers to self implode. Perhaps even more surprising is how naturally the dialogue flows between Merrill and Annie. While this style of interview could have easily turned into a clash of the egos, their interaction is so honest and candid that we kind of felt like we were two drinks into a Friday night catch up with them. In between Meryl’s confession that touring doesn’t really suit her anymore and Annie confirming our suspicion that being a woman in music is “fucking awesome”, you get a real sense of the respect these two have for each other, and the passion they share for their craft.

It’s not often that we see musicians speak so freely in a conversation untainted by pre-rehearsed answers or annoyingly peppy music presenters. In “Back and Forth #01”, Noisey cancels out the middle man and leaves us feeling like we just gained two new BFF’s, or at least sat next to them in a bar and recorded their conversation on our iPhones.

There’s something about a person that can switch between voices and accents seamlessly that is absolutely mesmerizing. In this aural montage, Dan Considine, improv artist extraordinare, explores a plethora of accents from Irish to the English aristocracy, English speaking Dutch and a rather cliched Indian accent. He eventually breaks into an Australian accent, as he hilariously describes the discovery of the land down under. It’s a tour around the world without ever leaving the comfort of your YouTube stream. Watch above; it’s cute and funny but sort of uncomfortably weird too.

If the title sequence of a movie is your grace period to microwave the popcorn, quickly run to the loo or say what you need to say before everyone tells you to shut the hell up — DO ALL THOSE THINGS BEFORE YOU PRESS PLAY NEXT TIME! Because titles are rad, get you excited (or very un-excited) for the film, and can be quite a piece of work within themselves.

We never really thought too much about them (as that’s about the time we’re opening the packet of M&M’s and saying ‘I didn’t know she was in this’) but this new short doco from PBS is, like, so eye-opening to the world of film and TV titles. I’m not even being sarcastic. There are some top-notch innovative title-bearing pieces of film out there, and some equally top-notch creative people out there putting their niche talents to work.

We decided to have a look at a few of the incredible introductory minutes of title sequences.

Did Al Gore scare the pants off you? He scared us too. Not just because we wonder how much hair gel he uses per annum, or even how the hell he managed to make a PowerPoint presentation into an internationally acclaimed documentary — we’re also scared of our impact on the environment. As a result, we turn things off at the wall, we switched to enviro-bags and we make sure we always recycle our Tequila bottles. One thing none of us thought of — not even Al — was recycling images.

Thank goodness for Facundo Argañaraz. This Buenos Aires born, San Francisco residing artist makes art by reusing images that already exist — from magazines, album covers, books and the world around him. As Argañaraz explains, there is already such a surplus of images in the world that he takes them and transforms them in new ways. That is some serious commitment to recycling.

This clip is the latest in The Popular Workshop‘s series of interviews with artists. Having access to creators via the digital world has the potential to be a great democratization of the art hierarchy. By enabling a connection between the artist and the audience without the gallery space as a middleman is a lot friendlier to those of us who otherwise would think twice about entering the ‘white box’ art world.

Argañaraz talks about how the Tenderloin district of San Francisco inspires him and how you can see formal composition in almost anything. The man has a way with words; listening to him talk about how he “paints with images” is a thousand times more enticing an invitation to be environmentally aware than all the Al Gores of the world combined.

His exhibition Rapture Ready: Space Planning & Aesthetics is closing on Friday at The Popular Workshop gallery.

\