#( connection. / && sara jakob. )

[thelostsullivans]

NPCs YOU’LL PROBABLY SEE MENTIONED ‘ROUND THESE PARTS

ROBERT “POPS” SULLIVAN. Luke, Bullet, Frankie, and Reggie's grandfather. City councilman in NYC; connections with mob members while he touts that he’s ‘tough on crime’; adopted Frankie and Bullet in their later teens; didn’t approve of his son Kelly’s marriage to Bullet's mother Florence, so he doesn’t approve of Bullet. Just used her for sympathy. Favors Frankie over Bullet ( most of the time ) and doesn't know about Luke and Reggie ( yet ).

JOHN SULLIVAN. Frankie's father and uncle to Bullet, Reggie, and Luke. Eldest son of Robert. Fuck up, but not as big as Kelly. Currently incarcerated in New York.

KELLY SULLIVAN. Father of Luke, Bullet, and Reggie. Only knows for certain about Bullet. General criminal, currently incarcerated in New York, but getting released soon. Asshole.

FLORENCE ( nee DARCY ) SULLIVAN. Mother of Bullet and estranged wife of Kelly. Con artist and thief. Currently incarcerated in New Mexico. Turned Kelly in to get immunity in an unrelated case.

RIVA DARCY. Maternal aunt of Bullet. Looks out for her when she's in town. Personal hero of the younger redhead. Hates the Sullivans. Tried to adopt Bullet when her sister was thrown in the clink until Robert got in her way.

MICHAEL “MIKEY” SULLIVAN. Younger brother of Frankie. Perished in an auto accident. Honestly was Frankie’s heart; they loved that kid. It’s difficult for Frankie to speak of Mikey now, but if they do, it’s all glowing.

DONNY WILSON. Grown ass married man with kids / Ranch hand. Had no business messing around with Bullet at the age she was when they did. Ran out of town when people began to suspect things. Bullet calls him her first love, but that ain't it.

LILAH BECKWITH. Bullet considers her her first girlfriend, though she was Frankie's at the time. Broke Bullet's heart and really just pissed Frankie off.

SARA JAKOB. The one who got away for Frankie. They have a tattoo of her name in a heart on their chest and they refuse to get it removed. Very, very sore subject.

------------------ ...to be continued...

[claudia1829things]

Favorite Episodes of "THE ALIENIST: ANGEL OF DARKNESS" Season Two (2020)

Below is my ranking of the Season One episodes of "THE ALIENIST: ANGEL OF DARKNESS", the 2020 adaptation of Caleb Carr's 1997 novel, “The Angel of Darkness”.  Created by Jakob Verbruggen and Cary Fukunaga, the television series starred Daniel Brühl, Luke Evans and Dakota Fanning:

1.  (2.05) "Belly of the Beast" - The team races to find the killer responsible for murdering an employee at the Lying-In Hospital.

2.  (2.04) “Gilded Cage” - The clock is ticking for the team to locate baby Ana Linares, the infant daughter of the Spanish consul-general. Meanwhile, Sara Howard, now a private detective, is worried about her young undercover detective Bitsy Sussman.  William Randolph Hearst hosts a lavish ball celebrating his goddaughter Violet's engagement to John Moore, New York Times illustrator.

3.  (2.07) “Last Exit to Brooklyn” - Sara, Moore and alienist Laszlo Kreizler travel to Brooklyn in search of clues hidden in the killer's dark past.

4.  (2.01) “Ex Ore Infantium” - One year after Season One, Sara seeks out Dr. Kreizler's help in finding the kidnapped baby Ana.  Dr. Kreizler reunites with Moore and the rest of the original team.  And their search for the missing child brings them into contact with a mysterious woman with a murderous past, who is connected to a notorious gang.

5.  (2.08) “Better Angels” - Sara, Moore, and Kreizler have their final confrontation with the killer/kidnapper, and struggle with decisions about their future paths.

6.  (2.02) “Something Wicked” - Sara uncovers a clue at the Siegel-Cooper department store.  Moore struggles to balance his personal and professional life, as he investigates a link to New York's criminal underworld. Kreizler suspects dark goings-on at the Lying-In Hospital, while former police chief Thomas Byrnes plots against their investigations.

7.  (2.06) “Memento Mori” - Sara and John continue to search for information about Libby Hatch, a nurse at the Lying-In Hospital.  Kreizler is nearly ruined by a tragic accident. Sara and the team have to work with Byrnes to find a new missing child from the Vanderbilt family.

8.  (2.03) “Labrynith” - Sara persuades a young nurse to disclose what happens behind closed doors at the Lying-In Hospital.  Meanwhile, Kreizler is convinced that hypnosis might unlock Señora Linares’ traumatic memories of her daughter’s kidnapping.  Moore introduces Sara to a well-connected friend to further the investigation.

[pryings]

a quiet hum buzzes through the dining hall as those assembled are shuffled in. this 'psychological experiment' or 'speed dating game' or 'social gathering' or whatever it is has been prepared. in place of the long dining tables, the hall is filled with numerous small, round tables, each with a number placed upon them. you are to find your assigned tables, chat with your partner, and hopefully make some kind of connection.

the goal of this exercise is somewhat vague, but knoll and hubert seem poised to take notes. so that's interesting.

schedule:

12pm. EST Feb 14 - 11:59pm Feb 15 ROUND ONE. 12pm. EST Feb 16 - 11:59pm Feb 17 ROUND TWO. 12pm. EST Feb 18 - 11:59pm Feb 19 ROUND THREE. 12pm. EST Feb 20 LAST WORDS.

please tag all interactions #toaLoveHypothesis2024. you will receive an ask from hubert or knoll within the next few hours asking if you like or dislike your partner. unanswered asks default to a 'no.' please answer it at any point before the round ends.

rounds will be 36 hours long, but should narratively simulate the speed dating experience of only having a few minutes to talk. it should feel rushed. interactions can be asks or short threads, please communicate with your partner to determine what works best. you can continue an incomplete interaction after a round concludes if you wish, but please note that you need to vote by the round's end!

the questions provided are only suggestions. if your muse would not want to discuss this topic, feel free to talk about whatever you wish.

caspar (@berglietz) & yarne (@taguelbunnyboy) topic: assuming you do not die within the coming months, what are your plans for the future?

linhardt (@pridelessdaydreamer) & sakura (@gentlenekomata) topic: what hobbies do you partake in?

lucius ( @semperiuvare) & sara (@shadoll)  topic: if tasked with healing an injured stranger, how would you respond?

louis (@etrefleurbleues) & arval (@laruarva) topic: how do you connect with others on an interpersonal level?

deirdre (@nagaficat) & eitri (@grimkkr) topic: thoughts on magic and its practical uses.

elffin (@moriddyn) & forsyth (@viridescent-lance) topic: describe your ideal vacation.

lachesis (@pridedprincess) & selena (FE8) (@fluxrspar) topic: two interesting truths and one compelling lie.

shez (@partnerindestiny) & hilda (@delicatevalentine) topic: fabric softener and its impractical uses.

dimitri (@blaiddllodi) & l’arachel (@aglaean)  topic: total monsters you have vanquished.

minerva (@reddragonprincess) & zephia (@ruinakete) topic: which food brings you the most joy?

jakob (@indevouement) & denning (@beholdenning) topic: which animal you most relate to?

mark (@allyphase) & laslow (@laslow) topic: your favorite type of cat.

elincia (@amitieos) & hector (@braveryinblue) topic: what is justice?

(tumblr has decided to implement a limit on how many people can be @'d in a single post, so if you do not see your muse's name, check the second part of the post)

[moochilatv]

Marcus Lindeberg presents: Midsummer's Eve

A Yearning to Return

Marcus Lindeberg’s Captivating New Song

Swedish pop artist Marcus Lindeberg is set to release his poignant new single “Midsummer's Eve” on May 31st. With a dreamy sound reminiscent of the magic of Stephen Sanchez’s “Until I Found You,” this track delves into themes of homesickness and the warm embrace of reunion.

Inspired by the artist’s personal journey, the song’s romantic lyrics express the yearning to return home and reunite with a loved one. Its slow, evocative ¾ tempo and mesmerizing harmonies mark a distinct shift from Lindeberg's earlier work, highlighting it as a personal favorite in his versatile catalog.

“Midsummer’s Eve” was written by Marcus Lindeberg and recorded in his bedroom studio. The track was produced, mixed, and mastered by producers Jakob Dahl and Jakob Bengtsson. It features contributions from Petter Lithvall, Nick Di Gregorio, Malin Holmgren, Amanda Tholin, and Anna-Sara Andersson. Perfected over years of recordings, it showcases Lindeberg’s expressive vocal prowess and his adeptness at crafting emotive, intimate lyrics.

Marcus Lindeberg’s versatile songwriting talent has captivated audiences since his 2017 debut, showcasing his ability to craft music that is both catchy and deeply personal. His music has consistently attracted attention from notable outlets, including Swedish local station P3 Jönköping, among others.

After signing with Rexius Records in 2020, Marcus Lindeberg released a number of singles with the label over the past four years.

Listen in Spotify:

Follow in IG:

View this post on Instagram

A post shared by Marcus Lindeberg (@marcuslindebergs)

BIO:

London-based pop artist Marcus Lindeberg has a bit of an outsider soul. Starting with music at a later age than usual, his upbeat sound draws inspiration from figures like Ed Sheeran and Maroon 5. But his musical roots are also connected to house music and gospel. The Swedish producer and singer-songwriter attended BIMM Institute (with alumni like George Ezra).

Born in 1993, Lindeberg has been living in the UK since 2014. "I did take guitar lessons in my earlier years, but never got hooked on it.", he explains. When house music became popular, he got a DAW and started experimenting with it. 

During that year, he also saw "The Jersey Boys" in New York, a musical that inspired him to start his career. He finally moved to London to study music production at 21. 

"Lyrics are very important to me - I want to write about what I know.", he tells us. His lyrics focus on romance, but also honest topics like existential issues and conflicts in relationships.  

Marcus Lindeberg has released seven songs since 2017. His singles "Bring Us Two Together" and "Broken" were featured on Swedish local station P3 Jönköping. 

[architectnews]

Prishtina Sports Hall, Kosovo

Prishtina Sports Hall, Kosovo Building Development, European Contemporary Leisure Center, Architecture Images

Prishtina Sports Hall in Kosovo

23 Sep 2021

Design: ENOTA & OUD+ Architects

Location: Pristina, Kosovo

Prishtina Sports Hall

The new Sports Hall is situated next to an existing bus station which represents a recognizable landmark in the larger urban area of Prishtina. Particularly noticeable is the elliptical traffic loop that runs around the bus station and defines the larger urban context. The proposal for the new sports hall maintains this relationship by positioning the building inside the elliptical traffic loop which maintains the bus station as the focus of the space.

The hall is positioned on the northeast corner which preserves the largest possible area for a public plaza that is a multi-purpose outdoor space used by the neighboring communities of Kalabria and Dardania. The entire public plaza is free from vehicular traffic. The organic design of various paved and green areas gives the space a recognizable character which facilitates user interaction. Urban equipment, such as lights and benches further emphasize the plaza design.

A typical placement of the sports hall on the ground, with a traditional dome roof, would result in a tall building, which is out of proportion compared to the surrounding area. Furthermore, such an arrangement would leave the ground floor occupied by services, such as storage, HVAC, MEP, changing rooms etc.

Pushing the building down by one floor, all the service areas are submerged underground. The main concourse is easy to reach since it is now only one level above ground. This puts the roof only two levels up and makes it accessible by pedestrians, transforming it into an open public space offering views to the city of Prishtina.

The arrangement of traffic and communication flows around the building is the main driver for the formal concept. A circular spiral is cut into the surface of the plaza, much like one would cut a piece of paper, and then pulled upward to form a loop of pathways around the building. A split double helix facilitates a large flow of people around the building and upwards, providing external access to all parts of the sports hall.

Smaller pockets of public space are created at various intersections of the spiral, allowing for placement of bars and restaurants that serve both the interior and exterior of the hall. The combination of the double spiral with triangular support structure gives the sports hall a recognizable, attractive appearance and creates a new landmark for the city of Prishtina.

Inside the hall, there are two possible seating arrangements. The smaller one with 3500 seats allows for a larger handball court or three parallel basketball courts. With extendable tribunes, the 3500 seating arrangement can enlarge up to 5000 spectators for high level basketball competitions. This flexible arrangement allows for multi-purpose use of the sport hall which can accommodate large sports competitions as well as fairs, concerts and smaller sports club activities.

The sports hall provides a clear separation of public areas and areas accessible to the media, players, VIP guests and staff. The main public entrance is provided from the large exterior plaza. From the entrance hall, spectators can ascend two grand staircases to the main concourse. Alternatively, depending on the nature of the event within the sports hall, access to the concourse is also possible via external ramps.

These ramps connect the outdoor plaza directly to the concourse, facilitating the flow of large crowds in and out of the building. The ramps touch down in two isolated areas, allowing for ticketing and access control.

The structure of the building is divided into two parts. The basement is constructed with perimeter and load bearing walls in reinforced concrete. Above ground, the façade ramps are supported by a triangular grid of steel columns that follow the irregular ellipsoid geometry. At the roof level, the steel columns support a compression ring which carries a cable tension roof above the main hall.

Sports Hall in Pristina, Kosovo – Building Information

Architecture: ENOTA & OUD+ Architects

project Prishtina Sports Hall type open international competition, first prize year 2021 status in progress

size 12.553 sqm site 76.573 sqm footprint 9.448 sqm

client Prishtina Municipality location Prishtina, Kosovo coordinates 42°39’03.8″N 21°08’44.1″E

project team ENOTA (Dean Lah, Milan Tomac, Jurij Ličen, Nuša Završnik Šilec, Polona Ruparčič, Rasmus Skov, Urska Malič, Eva Javornik, Peter Sovinc, Eva Tomac, Sara Mežik, Jakob Kajzer, Sara Ambruš), OUD+ Architects (Bekim Ramku, Nol Binakaj, Zana Bokshi, Gresa Morina, Marigona Derguti)

collaborators Spacer (visualizations), Luka Jančič (physical model)

Prishtina Sports Hall, Kosovo Building images / information received 230921

Kosovo Buildings

Location: Pristina, Republic of Kosovo, South East Europe

New Kosovan Architecture

Contemporary Kosovan Architectural Selection

Kosovan Architecture Designs

Prizren Pavilion Design: Senat Haliti photos : S. Haliti & M. Azizi EU Pavilion Building in Kosovo

International Design Competition for Central City Square of Rahovec image courtesy of architects practice Central City Square of Rahovec Design Competition

Central Mosque of Pristina

Central Mosque of Prishtina Building

Central Mosque of Prishtina Design

Embassy Buildings

Embassy Buildings

Parliament Building of the German Speaking Community, Belgium Parliament Building of the German Speaking Community in Belgium

Netherlands Embassy, Berlin Design: Rem Koolhaas, OMA Architects Dutch Embassy Berlin

US Embassy Building, England KieranTimberlake American Embassy Building London

Embassies of the Nordic Countries, Berlin Masterplan Design: Berger + Parkkinen Nordic Embassies Buildings Complex

Buildings in countries close by

Albanian Buildings

Serbian Architecture

Montenegro Buildings

Macedonian Buildings

Comments / photos for the Prishtina Sports Hall, Kosovo – New Kosovo Architecture page welcome

The post Prishtina Sports Hall, Kosovo appeared first on e-architect.

[fathersonholygore]

Starz Counterpart Season 1, Episode 8: “Love the Lie” Directed by Alik Sakharov Written by Amy Berg

* For a recap & review of the previous episode, “The Sincerest Form of Flattery” – click here * For a recap & review of the next episode, “No Man’s Land – Part One” – click here We hear the other part of the conversation on the phone when Alexander Pope (Stephen Rhea) calls the “dry cleaners.” The man who answers looks unsettled by what he’s heard. He goes directly to find Mira (Christiane Paul), and after that begins a purge of documents, as well as a sort of casual evacuation of the orphan schoolchildren.  Fires out front burn files fast as people can bring wheelbarrows full of papers outside. In the trees. Emily Prime (Olivia Williams), Ian Shaw (Nicholas Pinnock), Howard (J.K. Simmons), and the rest of the UN team come upon the building, seeing the fires in front of it. However, inside, Mira and the rest of her people have retrieved their pouch full of cyanide pills. Should they need to, they’ll kill themselves rather than give over the information they know. Thus commences a gunfight between Indigo and the UN’s people. As the gunfire erupts everywhere, many lose their lives, though not everybody, such as Mira and one of her associates (Jakob Diehl). “Our legacy only survives if we can protect this secret” The aftermath of the assault on Indigo is brutal, as both Howard and Ian are left reeling. Although Emily shows Shaw what she’s found – a link of “events” and “traditions” comparing the timeline of the Prime World with the original one. They’re only now discovering that Indigo was running a school there, teaching children. So much yet to be uncovered. And so much lost in the purging of those files. Meanwhile, Howard has stumbled onto the children: mouths ringed with foam, dead in a pile covered by a blanket. Similar to how the Joseph and Magda Goebbels murdered their own children on the 1st of May in 1945, a day after Hitler and Eva Braun committed suicide together as Nazi Germany crumbled to bits. Horrifying, particularly for the fact that Indigo is also located in Berlin; the exact same location as the aforementioned events at the close of WWII. Really creepy parallels going on here. And back at home, Howard Prime gets a call to be notified of the, uh, good news: Emily woke up from her coma. Baldwin (Sara Serraiocco) is waking up next to Greta (Liv Lisa Fries), and she isn’t entirely forthcoming after their “one night stand.” She obviously doesn’t want to get close to anybody, solely because of her life, the work she does, and what she’s done in the past. All the same, she does want to be close to somebody. After what happened at Indigo, Shaw wants to call the UN officially, whereas Emily knows Pope is involved and that it’s better to play things close to the chest for now. They keep searching the building, as well. Soon they find “reconnaissance photos” from back in the original world, as well as forged VISA papers, and other documents. The pieces fall together for them that Indigo were training sleeper agents to replace their counterparts. Things with Peter Quayle (Harry Lloyd) and his wife Clare (Nazanin Boniadi) aren’t what you’d call, getting along. He’s taking care of the baby while she’s handcuffed in the other room. Not a good sign. Clare decides to talk truthfully about when she switched over with the original Clare. This doesn’t change much between them, though we do see father pass child to mother so the baby can feed. That child is their only true connection. Even with Emily awake she isn’t out of the water. She has to recover before returning to any sense of normalcy. It’s interesting to see Howard Prime deal with Emily’s mother Charlotte, a relatively self-centred woman. Seeing regular Howard struggle with the family is decidedly different from witnessing Howard Prime in his place. Should likewise make for more compelling changes to the real Howard’s life when he comes back altered after his time on the Other Side. By far one of Counterpart‘s most intriguing elements is how we not only see the relationship(s) between the real world and the Prime World, but also how we see such a focus on the smaller, interpersonal relationships between people and how the concept of another world with exact counterparts of those on Earth affects them, too. What’s Baldwin’s latest move? She’s going after the Indigo agents sent from the Other Side. She silently tracks Mr. Angel Eyes (Nolan Gerard Funk) right into the apartment where he’s staying. She slips a cable tie over his neck quickly, and it chokes him to death on the floor. Now she’s got herself armed with more intel. Aldrich (Ulrich Thomsen) pays an unexpected visit to the Quayle house. He heard Peter was ill, off work, so he’s brought soup in a sweet little gesture. Paranoia has Peter shaken. He gets particularly sketchy when Aldrich talks about the mole situation, then bringing up the fact he knew his counterpart personally and actually used to send messages to him, and vice versa. Sadly, things went wrong when Aldrich’s Other fell in love and hoped to “defect” to their world. What did Aldrich do to save face and prevent himself a personal tragedy? He murdered the woman his Other fell in love with, which drove the counterpart to insanity. This all comes down to Aldrich knowing the truth, trying to give Mr. Quayle an option to do the correct thing for “the cause.” After discovering what they know about Indigo, Emily and Howard are going to contact Howard Prime through the elaborate chain messaging system through Raash (Marco Khan). Through the wires, Howard Prime’s setting a meet, and he needs Quayle to get him into an “interface room.” Will Peter being compromised further compromise this clandestine plan? Under guise of a “system simulation,” an interface room cut off from all surveillance and recording is readied for Howard Prime. He heads inside, where he meets the real Howard sitting across from him. Together again! The original Howard tells his counterpart about what they found at Indigo. Moreover, there’s bitterness and anger between the original and his Other, for what his Other didn’t tell him about his daughter, his wife. Of course the Other disparages the original Howard as being a pathetic, mild-mannered man without any excitement in his life. An ugly scene, yet necessary, and something we all knew was coming at a certain point. “Is there just any truth to you?” The whopper in this whole exchange? Howard Prime specifically tells Howard that Emily’s condition hasn’t change. That’s pretty despicable in itself. Contrasted with Aldrich’s speech earlier about the self v. the cause, it’s interesting to see Prime put the whole ’cause’ of their mission above telling his original the truth. Instead, he tells him about Emily cheating on him with the same guy he played Go with all that time in the park. Yet the first Howard says he knew, deep down. Of most importance is that the original Howard seems to have an inner morality and an honour about him that his Other does not possess. At a bar, Peter meets Aldrich as tentatively, hopefully scheduled. We see that Quayle’s questioned everything about himself because of what has happened concerning his wife. He considers himself a failure. And he knows that the UN thinks he’s the mole. But he reveals the manipulation to Aldrich – only he lies, telling his friend it’s Howard Silk. Oh, shit. That’s a terribly greasy, dangerous, and sickeningly impressive move.

This series only gets better, which is why I’m more than thrilled we’ll get Season 2. They’ve already started filming. Next week, we descend into a two-part finale. “No Man’s Land – Part One” will surely pack a punch leading into the very last episode.

Counterpart – Season 1, Episode 8: “Love the Lie” Starz Counterpart Season 1, Episode 8: "Love the Lie" Directed by Alik Sakharov…

[brokehorrorfan]

The new trailer for The Alienist will take you into the darkest corners of New York City during the Gilded Age. The event series now has a premiere date: Monday, January 22, 2018, at 9pm on TNT.

Based on Caleb Carr’s best-selling 1994 novel of the same name, the serial killer thriller is directed by Jakob Verbruggen (Black Mirror: Men Against Fire), who executive produces alongside by Cary Fukunaga (True Detective).

Daniel Brühl, Luke Evans, Dakota Fanning, Brian Geraghty, Douglas Smith, Matthew Shear, Matt Lintz, Robert Ray Wisdom, and Q'orianka Kilcher star.

The previous trailer can be viewed here. Read the extended synopsis below.

Turner's TNT will take viewers into the darkest corners of New York City during the Gilded Age with the eagerly anticipated series The Alienist based on the Anthony Award-winning international bestseller by Caleb Carr.Set in 1896 amidst a backdrop of vast wealth, extreme poverty and technological innovation, this psychological thriller stars Daniel Brühl (Rush), Luke Evans (The Girl on The Train), Dakota Fanning (American Pastoral) and Brian Geraghty (The Hurt Locker). The Alienist is slated to premiere on Monday, Jan. 22 at 9 p.m. ET/PT across TNT platforms.

The Alienist opens when a series of haunting, gruesome murders of boy prostitutes grips New York City. Newly appointed police commissioner Theodore Roosevelt (Geraghty) calls upon criminal psychologist (aka alienist) Dr. Laszlo Kreizler (Brühl) and newspaper illustrator John Moore (Evans) to conduct the investigation in secret. They are joined by Sara Howard (Fanning), a headstrong secretary determined to become the city's first female police detective. Using the emerging disciplines of psychology and early forensic investigation techniques, this band of social outsiders set out to find and apprehend one of New York City's first serial killers.

The Alienist also stars Douglas Smith (Miss Sloane) and Matthew Shear (Mistress America) as Marcus and Lucius Isaacson, twin brothers who help unravel the disturbing mystery; Matt Lintz (Pixels) as Stevie, a tough, young boy employed by Dr. Kreizler as a driver and errand boy; Robert Ray Wisdom (The Wire) as Cyrus, Kreizler's valet, a man with a dark past who has been reformed by Kreizler; and Q'orianka Kilcher (The New World) as Mary, Kreizler's mute maid with whom he shares a special unspoken connection.

Shot in Budapest, Hungary, The Alienist is a co-production of Paramount Television and Turner's Studio T. BAFTA-nominee Jakob Verbruggen (Black Mirror) serves as director and executive producer along with Emmy® winner Cary Fukunaga (True Detective), Academy Award® winner Eric Roth (Forrest Gump), Academy Award® nominees Hossein Amini (Drive) and E. Max Frye (Foxcatcher), Anonymous Content's Steve Golin and Rosalie Swedlin, along with Chris Symes. Serving as co-executive producers on the series are Marshall Persinger (Rectify) and Jamie Payne (The Driver).

[sytycdfeelz]

S14, Top 9

I’m still sad about last week’s elimination, but honestly I think that will happen every week because everyone is great and fully qualified to be there. Ugh.

That being said, let’s get into it because there are a lot of dances tonight - duets, solos, an all-star dance, a group dance...it’s be jam packed!

Group Dance - Loved the energy, loved the all-stars, loved Lex (seeing as though he was really the only one featured in that). Seriously though, I don’t understand how Lex can flip as well and as high as he does. Crazy talented. 

Logan and Allison, Jive (Emma and Sasha) - I love the DWTS crossover choreo, and that was a really fun piece! Logan really got to show a different side of himself than the “alien contemp” dancer. Allison has got to be the absolute best coach / mentor because she really makes anyone who dances with her be their best self, even in a completely foreign style.

Kaylee solo - I liked her dancing but her face always looks concerned. Anyone else notice that?

Sydney solo - Another great ballroom solo from Sydney, but definitely something weird happened because her aerial turned into a cartwheel. Weird.

Koine and Marko, Hip Hop (Dave Scott) - The audience was seriously going NUTS in the background of that dance. Anyone else catch that they spelled Koine’s name wrong? Come on, interns! The chemistry between these two is still phenomenal and regardless of the style they get, they might be able to ride that pretty damn far. That being said, both of them were awesome in that dance. Koine really got into character and hit on the choreography. And again, she made Marko look good when his partners in the past (at least as an all-star) have not. 

Dassy and Fikshun, Jazz (Ray Leeper) - These two could have their own variety show, and I swear it would be a success. They are so great together. As for this routine, I’m a bit on the fence about it. I absolutely loved the energy and the fun costumes and the overall vibes. However, you could see some holes in Dassy’s technique. It seemed to be lacking a little bit of sharpness, especially on some of the kicks. I also didn’t think Ray really highlighted Dassy enough in that, and it also didn’t feel much like jazz to me. All that being said, I did enjoy it but wasn’t crazy wow’ed. 

Kiki solo - Gotta hand it to the guy...he really knows how to rock a ballroom solo. And play to his fans. 

Mark and Comfort, Contemporary (Talia Favia) - That was pretty incredible to watch. I just pretty much stared in awe the entire time. Their connection was on POINT. Each movement was perfectly synchronized and their support of each other was visually and physically palpable. I hope I’m not being super biased because Mark danced for @taylorswift, but I really adore him.

Taylor solo - Someone else on here was saying that the stage looked slippery, and that was pretty evident for poor Taylor. She was all shaky on her poses and spins...very un Taylor like.

All Star Group Dance - Travis Wall will change the world. 

Lex and Gabby, Broadway (Warren Carlyle) - Lex is a freaking chameleon. I didn’t even recognize him in this with all the fun he was having! I’m so glad he’s coming into his own week after week. There was so much in this routine, and it all seemed like it was on warp speed. Lex didn’t miss a beat, and again, can he defy gravity? That leg flare OMG. 

Logan solo - This kid is like Travis, Jakob Karr, and Robert all rolled into one, and I am HERE FOR IT.

Sydney and Paul, Hip Hop (Luther Brown) - This is another one that I was pretty indifferent to. I thought it was a fun concept, but as Nigel said, a little basic. They were clearly having fun with it, but I didn’t get the commitment or grove of it from Sydney. She feel a little flat for me, especially next to Paul.

Koine solo - I think my favorite thing about her is that she doesn’t do angsty solos. She shows her passion and personality, and they are both excellent! And they spelled her name right!

Top 9 Group Dance - Love this piece! It was so much fun, and I feel like everyone had a real chance to shine. Standouts for me were Logan, Lex and Taylor.

Kaylee and Cyrus, Jazz (Specer Liff) - I seriously hate when people talk about props like “dropping the [insert any prop here] would be disaster”. It wouldn’t. Seriously though, I liked this dance a lot. The stylized choreo and quirkiness of it were perfect for Kaylee, and I thought their timing and synchronicity were on point. I agreed with Mary that some of the jumps were a little labored-looking, but it didn’t detract anything from the routine for me. It reminded me a little bit of the suspender dance with Sara and Pasha from S3 (and later Jenna and Lindsey haha), which is one of my all time favs.

Mark solo - My aesthetic = Mark dancing to an Ed Sheeran song. GREAT solo. 

Taylor and Robert, Samba (Jean Marc) - First and foremost, I absolutely love Jean Marc and need him on the show every week to keep things interesting. I agreed with Nigel’s comment on the lack of chemistry / flirtation and Vanessa’s on lack of fire. It was a little bit “dance competition” feel for me with the smiley faces. I also didn’t love the song, which isn’t their fault but just an observation. It was sad to see the sad looks on their faces during their critiques. Breaks my heart!

Dassy solo - Damn she’s good. So committed and focused in her movements, and it’s great to watch.

Lex solo - HOW? Just HOW?

Kiki and Jenna, Contemporary (Mandy Moore) - Man, I forget what an absolutely beautiful dancer Jenna is, especially in contemporary. That was a beautiful piece by Mandy, and I thought they both performed very well. Honestly, there wasn’t much that Kiki had to do outside of partnering Jenna, but he partnered the hell out of her. Everything looked so effortless and beautiful. Their chemistry was tangible, and I’m starting to come around on these two. 

Spoilers ahead -- you’ve been warned!

Bottom 3: Dassy (what???), Sydney (not all that surprised unfortunately) and Mark (um NO)

When you get in the bottom a couple weeks in a row at the beginning and then have a mediocre routine, it’s hard for the judges to find a reason to keep you, unfortunately. Sad to see Sydney go, but I think it was the right decision. 

[digital-strategy]

COPENHAGEN — A feather boa, an inflatable cactus, and a pair of zebra masks appeared on a stage (no, really) as a drummer began tapping away at cymbals. A medley of viral videos played behind a man standing downstage, whose monologue on the “attention war” in technology had just been interrupted by this impromptu parade.

Granted, this all happened in Danish — but the language of technology overload is universal. But how often do you see journalists broach the topic of content overconsumption with their audiences? This was the 13th Zetland Live, the in-person performance showcase of Copenhagen-based, membership-driven news outlet Zetland, and the monologue-giver was Zetland’s cofounder and audio editor Hakon Mosbech. I couldn’t tell you what he said, but the audience seemed to respond enthusiastically.

It’s at events like these that Mosbech and other Zetland journalists have gotten to know their members face-to-face. And it’s where editor-in-chief Lea Korsgaard and other staffers started hearing suggestions from their audiences that they wanted to listen to their regular journalism instead of read it. Zetland publishes in-depth reporting daily on topics like culture, the climate, education, and economics, with the mission of “not to make news — it is to make sense.”

“Our members asked for it, literally,” Korsgaard told me in an interview a few weeks after the show. “When we met them at our live events and saw our emails and comments sections, they really asked for it when we asked how we can improve Zetland. A bunch of them asked us to either go into podcasting or reading the stories and letting them listen instead of reading them.”

They didn’t have much hard data to evaluate the idea, but they decided to test it out anyway. The response has been so overwhelming that since the fall, 60 percent of Zetland members have been listening to their journalism compared to 40 percent reading. Zetland has 10,000 members — up from 8,500 last year — with a price tag of 99 kroner (US $12.30) per month or 999 kroner (US $124.08) per year. They haven’t broken even yet, but they’re on track to do so next year and just brought on new investors, Korsgaard said.

“Instead of demanding that ‘we like written word so you have to read our stories,’ we try to get a sense of how can we adapt to your world and your way of living,” Korsgaard said. Zetland spent six months developing the audio component, testing the audio stories in the beginning of 2017 and launching an app for them in June.

Despite their members’ enthusiasm for spoken journalism, the journalists still start out by writing their stories, recording their own out-loud renditions later. Korsgaard said they haven’t changed much of their style or reporting process, and the written content they publish is the same as the audio. Some of the team members have a background in audio — like cofounder Mosbech, who used to host a weekly radio program on the media — but they enlisted the help of a voice coach for training. The Zetland style already gravitates toward a down-to-earth vibe, such as starting a story with “Okay, let’s find out what’s going on with….” Each audio story now begins with a short personal note from the journalist about what the story meant to them before they begin telling it. “It’s some details that tell the listener it’s a person behind the story, not a machine that wrote it,” Korsgaard said.

The experiment appears to be working so far: Members tend to be more loyal and thorough in their Zetland audio consumption than their text consumption, and they seem to be adopting listening to Zetland as part of their daily routine. “We’re definitely not a short-form news outlet,” Korsgaard said. “When we launched, we thought it would be late evening media, something where you would crash on the sofa and read our stories. But we’re definitely more commuter media that we thought.”

Being pleasantly surprised by their members’ desires is a recurring theme for Zetland.

In our previous coverage of Zetland

, we noted how frequently the organization tries to solicit input from members, like when they asked for suggestions for their newsletter name. (“I totally hated [the name readers chose, Helikopter] to begin with,” CEO and cofounder

Jakob Moll

said then. “But

Mads Olrik

, who was running our community at the time, said we can’t ask the questions if we don’t want the answer. It’s been called that since, and of course, it’s perfect.”)

The addition of 1,500 members over the past year helps toss some more voices into the mix. To build their member count (and income), Zetland runs some social media ads, but Korsgaard also said “old school” TV commercials and flyers in Copenhagen’s newspapers have actually helped bring in more members than expected. “It turns out that TV commercials played a much huger role than we would have ever thought,” she said. They’ve run commercials in one of Copenhagen’s evening TV news hours and during the Tour de France. (More than 60 percent of Danes use the country’s two public service TV broadcasters at least weekly, according to the 2017 Reuters Institute Digital News Report.)

On the heels of the audio success, Zetland now also publishes an audio version of that daily newsletter, which aggregates other media organizations’ stories too. And they’re in the early stages of experimenting with video to connect with younger audiences. The company also recently redesigned its website for better navigability — and won the digital Best of Show award from the Best of Nordic News Design competition for its old design the same day it launched the new version.

“If there’s a lesson to learn, it’s really nice to win awards and celebrate when you do, but don’t let that decide how you should develop the site or your content,” Korsgaard said. “It’s your readers and your members who should have the last say in how your product is [done].”

Image of Zetland journalist

Sara Alfort

recording a story courtesy of Zetland.

via Nieman Lab

[movietvtechgeeks]

Latest story from https://movietvtechgeeks.com/miseducation-cameron-post-wins-top-prize-sundance-2018/

'Miseducation of Cameron Post' wins top prize at Sundance 2018

Now that 2018 Sundance Film Festival is officially over, the awards have now all be dlivered with top prizes going to The Miseducation of Cameron Post, Kailash, Of Fathers and Sons, and Butterflies While many thought it was a weak lineup of films in the festival, I enjoyed everything I saw, even those that weren't as strong like Robert Pattinson's latest. But that's what film festivals are all about; see films you probably would have missed otherwise. Many won't go on to greatness, but finding that diamond in the rough is what makes it so exciting to me. So below is the complete list of winners. After 10 days and 123 feature films, the 2018 Sundance Film Festival's Awards Ceremony took place tonight, with host Jason Mantzoukas emceeing and jurors presenting 28 prizes for feature filmmaking in Park City, Utah. Honorees, named in total below, represent new achievements in global independent storytelling. Bold, intimate, and humanizing stories prevailed across categories, with Grand Jury Prizes awarded to The Miseducation of Cameron Post (U.S. Dramatic), Kailash (U.S. Documentary), Of Fathers and Sons (World Cinema Documentary) and Butterflies (World Cinema Dramatic). "From the beginning, the purpose of the Sundance Film Festival has been to support artists and their stories," said Sundance Institute President and Founder Robert Redford, "and this year, our mission seemed especially relevant. Supporting independent voices, and listening to the stories they tell, has never been more necessary." "The scope and scale of this year's Festival -- films, events, conversations -- were invigorating," said Keri Putnam, the Institute's Executive Director. "I can't wait to see how our incredible community will leverage these ten days of connection and inspiration to make art and change in the coming year." "This Festival has been extraordinary," said John Cooper, Sundance Film Festival Director. "It's been a pleasure to stand shoulder-to-shoulder with these artists, and to see their work charm, challenge and galvanize its first audiences." The awards ceremony marked the culmination of the 2018 Festival, where 123 feature-length and 69 short films — selected from 13,468 submissions — were showcased in Park City, Salt Lake City and Sundance, Utah, alongside work in the new Indie Episodic category, panels, music and New Frontier. The ceremony was live-streamed; video is available at youtube.com/sff. This year's jurors, invited in recognition of their accomplishments in the arts, technical craft and visionary storytelling, deliberated extensively before presenting awards from the stage; this year's jurors were Barbara Chai, Simon Chinn, Chaz Ebert, Ezra Edelman, Matt Holzman, Rachel Morrison, Jada Pinkett Smith, Octavia Spencer, Michael Stuhlbarg, Joe Swanberg, Hanaa Issa, Ruben Östlund, Michael J. Werner, Joslyn Barnes, Billy Luther, Paulina Suarez, and Ru Paul Charles. A new award voted on by audiences, Festival Favorite, will be announced in the coming days. Feature film award winners in previous years include: I don't feel at home in this world anymore., Weiner, Whiplash, Fruitvale Station, Beasts of the Southern Wild, Twenty Feet from Stardom, Searching for Sugarman, The Square, Me and Earl and the Dying Girl, Cartel Land, The Wolf Pack, The Diary of a Teenage Girl, Dope, Dear White People, The Cove and Man on Wire. 2018 SUNDANCE FILM FESTIVAL FEATURE FILM AWARDS The U.S. Grand Jury Prize: Documentary was presented by Simon Chin to: Kailash / U.S.A. (Director: Derek Doneen, Producers: Davis Guggenheim, Sarah Anthony) — As a young man, Kailash Satyarthi promised himself that he would end child slavery in his lifetime. In the decades since, he has rescued more than eighty thousand children and built a global movement. This intimate and suspenseful film follows one man's journey to do what many believed was impossible. The U.S. Grand Jury Prize: Dramatic was presented to: The Miseducation of Cameron Post / U.S.A. (Director: Desiree Akhavan, Screenwriters: Desiree Akhavan, Cecilia Frugiuele, Producers: Cecilia Frugiuele, Jonathan Montepare, Michael B. Clark, Alex Turtletaub) — 1993: after being caught having sex with the prom queen, a girl is forced into a gay conversion therapy center. Based on Emily Danforth's acclaimed and controversial coming-of-age novel. Cast: Chloë Grace Moretz, Sasha Lane, Forrest Goodluck, John Gallagher Jr., Jennifer Ehle. The World Cinema Grand Jury Prize: Documentary was presented by Joselyn Barnes to: Of Fathers and Sons / Germany, Syria, Lebanon, Qatar (Director: Talal Derki, Producers: Ansgar Frerich, Eva Kemme, Tobias N. Siebert, Hans Robert Eisenhauer) — Talal Derki returns to his homeland where he gains the trust of a radical Islamist family, sharing their daily life for over two years. His camera focuses on Osama and his younger brother Ayman, providing an extremely rare insight into what it means to grow up in an Islamic Caliphate. The World Cinema Grand Jury Prize: Dramatic was presented by Ruben Ostlund to: Butterflies / Turkey (Director and screenwriter: Tolga Karaçelik, Producers: Tolga Karaçelik, Diloy Gülün, Metin Anter) — In the Turkish village of Hasanlar, three siblings who neither know each other nor anything about their late father, wait to bury his body. As they start to find out more about their father and about each other, they also start to know more about themselves. The Audience Award: U.S. Documentary, Presented by Acura was presented to: The Sentence /U.S.A. (Director: Rudy Valdez, Producers: Sam Bisbee, Jackie Kelman Bisbee) — Cindy Shank, mother of three, is serving a 15-year sentence in federal prison for her tangential involvement with a Michigan drug ring years earlier. This intimate portrait of mandatory minimum drug sentencing's devastating consequences, captured by Cindy's brother, follows her and her family over the course of ten years. The Audience Award: U.S. Dramatic, Presented by Acura was presented to: Burden / U.S.A. (Director and screenwriter: Andrew Heckler, Producers: Robbie Brenner, Jincheng, Bill Kenwright) — After opening a KKK shop, Klansman Michael Burden falls in love with a single mom who forces him to confront his senseless hatred. After leaving the Klan and with nowhere to turn, Burden is taken in by an African-American reverend, and learns tolerance through their combined love and faith.Cast: Garrett Hedlund, Forest Whitaker, Andrea Riseborough, Tom Wilkinson, Usher Raymond. The Audience Award: World Cinema Documentary was presented to: This Is Home / U.S.A., Jordan (Director: Alexandra Shiva, Producers: Lindsey Megrue, Alexandra Shiva) — This is an intimate portrait of four Syrian families arriving in Baltimore, Maryland and struggling to find their footing. With eight months to become self-sufficient, they must forge ahead to rebuild their lives. When the travel ban adds further complications, their strength and resilience are put to the test. The Audience Award: World Cinema Dramatic was presented to: The Guilty / Denmark (Director: Gustav Möller, Screenwriters: Gustav Möller, Emil Nygaard Albertsen, Producer: Lina Flint) — Alarm dispatcher Asger Holm answers an emergency call from a kidnapped woman; after a sudden disconnection, the search for the woman and her kidnapper begins. With the phone as his only tool, Asger enters a race against time to solve a crime that is far bigger than he first thought. Cast: Jakob Cedergren, Jessica Dinnage, Johan Olsen, Omar Shargawi. The Audience Award: NEXT, Presented by Adobe was presented to: Search / U.S.A. (Director: Aneesh Chaganty, Screenwriters: Aneesh Chaganty, Sev Ohanian, Producers: Timur Bekmambetov, Sev Ohanian, Adam Sidman, Natalie Qasabian) — After his 16-year-old daughter goes missing, a desperate father breaks into her laptop to look for clues to find her. A thriller that unfolds entirely on computer screens. Cast: John Cho, Debra Messing. The Directing Award: U.S. Documentary was presented by Ezra Edelman to: Alexandria Bombach for her film On Her Shoulders / U.S.A. (Director: Alexandria Bombach, Producers: Hayley Pappas, Brock Williams) — Nadia Murad, a 23-year-old Yazidi, survived genocide and sexual slavery committed by ISIS. Repeating her story to the world, this ordinary girl finds herself thrust onto the international stage as the voice of her people. Away from the podium, she must navigate bureaucracy, fame and people's good intentions. The Directing Award: U.S. Dramatic was presented to: Sara Colangelo, for her film The Kindergarten Teacher / U.S.A. (Director and screenwriter: Sara Colangelo, Producers: Talia Kleinhendler, Osnat Handelsman-Keren, Maggie Gyllenhaal, Celine Rattray, Trudie Styler) — When a Staten Island kindergarten teacher discovers what may be a gifted five year-old student in her class, she becomes fascinated and obsessed with the child-- spiraling downward on a dangerous and desperate path in order to nurture his talent. Cast: Maggie Gyllenhaal, Parker Sevak, Rosa Salazar, Anna Barynishikov, Michael Chernus, Gael Garcia Bernal. The Directing Award: World Cinema Documentary was presented by Paulina Suarez to: Sandi Tan, for her film Shirkers / U.S.A. (Director and screenwriter: Sandi Tan, Producers: Sandi Tan, Jessica Levin, Maya Rudolph) — In 1992, teenager Sandi Tan shot Singapore's first indie road movie with her enigmatic American mentor Georges – who then vanished with all the footage. Twenty years later, the 16mm film is recovered, sending Tan, now a novelist in Los Angeles, on a personal odyssey in search of Georges' vanishing footprints. The Directing Award: World Cinema Dramatic was presented by Michael J. Werner to: Ísold Uggadóttir, for her film And Breathe Normally / Iceland, Sweden, Belgium (Director and screenwriter: Ísold Uggadóttir, Producers: Skúli Malmquist, Diana Elbaum, Annika Hellström, Lilja Ósk Snorradóttir, Inga Lind Karlsdóttir) — At the edge of Iceland's Reykjanes peninsula, two women's lives will intersect – for a brief moment – while trapped in circumstances unforeseen. Between a struggling Icelandic mother and an asylum seeker from Guinea-Bissau, a delicate bond will form as both strategize to get their lives back on track. Cast: Kristín Thóra Haraldsdóttir, Babetida Sadjo, Patrik Nökkvi Pétursson. The Waldo Salt Screenwriting Award: U.S. Dramatic was presented to: Christina Choe, for her film NANCY / U.S.A. (Director and screenwriter: Christina Choe, Producers: Amy Lo, Michelle Cameron, Andrea Riseborough) — Blurring lines between fact and fiction, Nancy becomes increasingly convinced she was kidnapped as a child. When she meets a couple whose daughter went missing thirty years ago, reasonable doubts give way to willful belief – and the power of emotion threatens to overcome all rationality . Cast: Andrea Riseborough, J. Smith-Cameron, Steve Buscemi, Ann Dowd, John Leguizamo. A U.S. Documentary Special Jury Award for Creative Vision was presented by Matt Holzman to: Hale County This Morning, This Evening / U.S.A. (Director: RaMell Ross, Screenwriter: Maya Krinsky, Producers: Joslyn Barnes, RaMell Ross, Su Kim) — Composed of intimate and unencumbered moments of people in a community, this film is constructed in a form that allows the viewer an emotive impression of the Historic South - trumpeting the beauty of life and consequences of the social construction of race, while simultaneously a testament to dreaming. A U.S. Documentary Special Jury Award for Social Impact was presented by Chaz Ebert to: Crime + Punishment / U.S.A. (Director: Stephen Maing) — Over four years of unprecedented access, the story of a brave group of black and Latino whistleblower cops and one unrelenting private investigator who, amidst a landmark lawsuit, risk everything to expose illegal quota practices and their impact on young minorities. A U.S. Documentary Special Jury Award for Storytelling was presented by Chaz Ebert to: Three Identical Strangers /U.S.A. (Director: Tim Wardle, Producer: Becky Read) — New York,1980: three complete strangers accidentally discover that they're identical triplets, separated at birth. The 19-year-olds' joyous reunion catapults them to international fame, but also unlocks an extraordinary and disturbing secret that goes beyond their own lives - and could transform our understanding of human nature forever . A U.S. Documentary Special Jury Award for Breakthrough Filmmaking was presented by Barbara Chai to: Minding the Gap / U.S.A. (Director: Bing Liu, Producer: Diane Quon) — Three young men bond together to escape volatile families in their Rust Belt hometown. As they face adult responsibilities, unexpected revelations threaten their decade-long friendship. A U.S. Dramatic Special Jury Award for Outstanding First Feature was presented by Jada Pinkett Smith to: Monsters and Men / U.S.A. (Director and screenwriter: Reinaldo Marcus Green, Producers: Elizabeth Lodge Stepp, Josh Penn, Eddie Vaisman, Julia Lebedev, Luca Borghese) — This interwoven narrative explores the aftermath of a police killing of a black man. The film is told through the eyes of the bystander who filmed the act, an African-American police officer and a high-school baseball phenom inspired to take a stand. Cast: John David Washington, Anthony Ramos, Kelvin Harrison Jr., Chanté Adams, Nicole Beharie, Rob Morgan. A U.S. Dramatic Special Jury Award for Excellence in Filmmaking was presented by Michael Stulhbarg to: I Think We're Alone Now / U.S.A. (Director: Reed Morano, Screenwriter: Mike Makowsky, Producers: Fred Berger, Brian Kavanaugh-Jones, Fernando Loureiro, Roberto Vasconcellos, Peter Dinklage, Mike Makowsky) — The apocalypse proves a blessing in disguise for one lucky recluse – until a second survivor arrives with the threat of companionship. Cast: Peter Dinklage, Elle Fanning. A U.S. Dramatic Special Jury Award for Achievement in Acting was presented by Michael Stulhbarg to: Benjamin Dickey, for BLAZE /U.S.A. (Director: Ethan Hawke, Screenwriters: Ethan Hawke, Sybil Rosen, Producers: Jake Seal, John Sloss, Ryan Hawke, Ethan Hawke) — A reimagining of the life and times of Blaze Foley, the unsung songwriting legend of the Texas Outlaw Music movement; he gave up paradise for the sake of a song. Cast: Benjamin Dickey, Alia Shawkat, Josh Hamilton, Charlie Sexton. A World Cinema Documentary Special Jury Award was presented by Billy Luther to: Stephen Loveridge and M.I.A., for MATANGI / MAYA / M.I.A. / Sri Lanka, United Kingdom, U.S.A. (Director: Stephen Loveridge, Producers: Lori Cheatle, Andrew Goldman, Paul Mezey) — Drawn from a never before seen cache of personal footage spanning decades, this is an intimate portrait of the Sri Lankan artist and musician who continues to shatter conventions. A World Cinema Documentary Special Jury Award for Editing was presented by Paulina Suarez to: Editors Maxim Pozdorovkin and Matvey Kulakov, for Our New President/ Russia, U.S.A. (Director: Maxim Pozdorovkin, Producers: Maxim Pozdorovkin, Joe Bender, Charlotte Cook) — The story of Donald Trump's election told entirely through Russian propaganda. By turns horrifying and hilarious, the film is a satirical portrait of Russian media that reveals an empire of fake news and the tactics of modern-day information warfare. A World Cinema Documentary Special Jury Award for Cinematography was presented by Billy Luther to: Cinematographers Maxim Arbugaev and Peter Indergand, for Genesis 2.0 / Switzerland (Directors: Christian Frei, Maxim Arbugaev, Producer: Christian Frei) — On the remote New Siberian Islands in the Arctic Ocean, hunters search for tusks of extinct mammoths. When they discover a surprisingly well-preserved mammoth carcass, its resurrection will be the first manifestation of the next great technological revolution: genetics. It may well turn our world upside down. A World Cinema Dramatic Special Jury Award for Screenwriting was presented by Michael J. Werner to: Screenwriters Julio Chavezmontes and Sebastián Hofmann, for Time Share (Tiempo Compartido) / Mexico, Netherlands (Director: Sebastián Hofmann, Screenwriters: Julio Chavezmontes, Sebastián Hofmann, Producer: Julio Chavezmontes) — Two haunted family men join forces in a destructive crusade to rescue their families from a tropical paradise, after becoming convinced that an American timeshare conglomerate has a sinister plan to take their loved ones away. A World Cinema Dramatic Special Jury Award for Acting was presented by Hanaa Issa to: Valeria Bertuccelli, for The Queen of Fear / Argentina, Denmark (Directors: Valeria Bertuccelli, Fabiana Tiscornia, Screenwriter: Valeria Bertuccelli, Producers: Benjamin Domenech, Santiago Gallelli, Matias Roveda, Juan Vera, Juan Pablo Galli, Christian Faillace) — Only one month left until the premiere of The Golden Time, the long-awaited solo show by acclaimed actress Robertina. Far from focused on the preparations for this new production, Robertina lives in a state of continuous anxiety that turns her privileged life into an absurd and tumultuous landscape. Cast: Valeria Bertuccelli, Diego Velázquez, Gabriel Eduardo "Puma" Goity, Darío Grandinetti. A World Cinema Dramatic Special Jury Award for Ensemble Acting was presented by Hanaa Issa to: Dead Pigs / China (Director and screenwriter: Cathy Yan, Producers: Clarissa Zhang, Jane Zheng, Zhangke Jia, Mick Aniceto, Amy Aniceto) — A bumbling pig farmer, a feisty salon owner, a sensitive busboy, an expat architect and a disenchanted rich girl converge and collide as thousands of dead pigs float down the river towards a rapidly-modernizing Shanghai, China. Based on true events . Cast: Vivian Wu, Haoyu Yang, Mason Lee, Meng Li, David Rysdahl. The NEXT Innovator Prize was announced as a tie, and was presented by juror RuPaul Charles to two films: Night Comes On / U.S.A. (Director: Jordana Spiro, Screenwriters: Jordana Spiro, Angelica Nwandu, Producers: Jonathan Montepare, Alvaro R. Valente, Danielle Renfrew Behrens) — Angel LaMere is released from juvenile detention on the eve of her 18th birthday. Haunted by her past, she embarks on a journey with her 10 year-old sister that could destroy their future. Cast: Dominique Fishback, Tatum Hall, John Earl Jelks, Max Casella, James McDaniel. We the Animals / U.S.A. (Director: Jeremiah Zagar, Screenwriters: Daniel Kitrosser, Jeremiah Zagar, Producers: Jeremy Yaches, Christina D. King, Andrew Goldman, Paul Mezey) — Us three, us brothers, us kings. Manny, Joel and Jonah tear their way through childhood and push against the volatile love of their parents. As Manny and Joel grow into versions of their father and Ma dreams of escape, Jonah, the youngest, embraces an imagined world all his own. Cast: Raul Castillo, Sheila Vand, Evan Rosado, Isaiah Kristian, Josiah Gabriel. The following awards were presented at separate ceremonies at the Festival: SHORT FILM AWARDS: Jury prizes and honorable mentions in short filmmaking were presented at a ceremony in Park City on January 23. The Short Film Grand Jury Prize was awarded to: Matria / Spain (Director and screenwriter: Director and screenwriter: Álvaro Gago). The Short Film Jury Award: U.S. Fiction was presented to: Hair Wolf / U.S.A. (Director and screenwriter: Director and screenwriter: Mariama Diallo). The Short Film Jury Award: International Fiction was presented to: Would You Look at Her / Macedonia (Director and screenwriter: Goran Stolevski). The Short Film Jury Award: Nonfiction was presented to: The Trader (Sovdagari) / Georgia (Director: Tamta Gabrichidze). The Short Film Jury Award: Animation was presented to: GLUCOSE / U.S.A. (Director and screenwriter: Jeron Braxton). Three Special Jury Awards without designation were presented to: Emergency / U.S.A. (Director: Carey Williams, Screenwriter: K.D. Dávila), Fauve / Canada (Director and screenwriter: Jérémy Comte) and For Nonna Anna / Canada (Director and screenwriter: Luis De Filippis). The Short Film jurors were Cherien Dabis, Shirley Manson and Chris Ware. The Short Film program is presented by YouTube. SUNDANCE INSTITUTE OPEN BORDERS FELLOWSHIP PRESENTED BY NETFLIX The recipients of Sundance Institute Open Borders Fellowship presented by Netflix, announced January 26, are three of the most exciting emerging filmmakers from the world cinema stage working in both narrative and nonfiction. The recipients are: Of Fathers and Sons (Syria) / Talal Derki Untitled (India) / Chaitanya Tamhane Night On Fire (Mexico) / Tatiana Huezo The Sundance Institute / NHK Award was presented to: His House(United Kingdom) / Remi Weekes. SUNDANCE INSTITUTE | ALFRED P. SLOAN FEATURE FILM PRIZE The 2018 Alfred P. Sloan Feature Film Prize, presented to an outstanding feature film about science or technology, was presented to Aneesh Chaganty and Sev Ohanian's Search . The filmmakers received a $20,000 cash award from Sundance Institute with support from the Alfred P. Sloan Foundation. SUNDANCE INSTITUTE | AMAZON STUDIOS PRODUCERS AWARDS Sev Ohanian received the 2018 Sundance Institute | Amazon Studios Producers Awards. The award recognizes bold vision and a commitment to continuing work as a creative producer in the independent space, and grants money (via the Sundance Institute Feature Film Program and Documentary Film Program) to emerging producers of films at the Sundance Film Festival.

Movie TV Tech Geeks News

[iyarpage]

How Designers & Copywriters Can Collaborate (and Why They Should)

The online world is dynamic and constantly evolving. One method holds the high ground today only to lose it tomorrow. But in spite of this volatile nature, one thing remains the sine qua non of online success: Content.

However, the question remains whether there’s a type of web content which is one-size-fits-all.

The short answer is no.

Big brands beat online competition by churning out high-quality content—well-knitted text and visuals in the form of blog posts—as a tool for lead generation. Doing this, they know that using a one-way approach to content creation in today’s age of big data and visual culture will take them nowhere.

Let’s face it, designer-copywriter collaboration is a great idea every freelancer or solopreneur operating in the digital marketing world should consider, for creating good web content.

Here’s a thumbnail analysis of why, and the benefits of going down that road.

All-in-one Content Offers Greater Value

Because the Internet is jam-packed, attention is perhaps the most expensive thing online. According to Jakob Nielsen, an average web visitor is likely to read only 20-28% of a blog post. The only power to extend the duration lies in truly compelling content.

And what is that? Any beautifully crafted article that’s saturated with high-value, attention-grabbing images and visuals.

But if you’ve never tried this before, you might doubt its efficiency. Luckily for you, experts say that articles with images get 94% more total views than text-only posts. And there’s more: infographics deliver up to 120-180% more engagement thereby increasing viewers’ retention, engagement and, ultimately, sales.

Better Illustrations

What makes the above possible is the extraordinary power of visual content in making a digestible illustration of textual messages. Indeed, “a picture is worth a thousand words.”

It’s not only about illustration, however. Readers retain 65% of any information three days later, when communicated through visuals.

Text-Visual Content is Brain Friendly

One of the top reasons why brands go blogging is to provide sufficient insights, thus making it easier for prospects to comprehend how their products and services work. Simply put, the method yields well, as 37% of marketers say visuals are essential form of content.

The reason, is that the human brain processes visual data 60,000 times quicker than text. Brain Rules also notes that:

We [human beings] are incredible at remembering pictures. Hear a piece of information, and three days later you’ll remember 10% of it. Add a picture and you’ll remember 65%.

It’s clear: web visitors do not struggle to remember details when they’re given all-inclusive memorable content.

SEO, SEO, SEO

Visual content is just so amazing. Going from merely adding glamour to a blog post, to creating other essential values, visuals can boost webpage ranks on search engines when seamlessly integrated into a body of valuable text.

If SEO were key to content marketing success, creating all-inclusive content is a task that you cannot ignore – and that’s easier done through collaborative efforts, both from SEO and ROI perspectives.

Why Collaboration Matters

The significance of having the right visuals alongside written content has become more evident. However, choosing the wrong content is as disadvantageous as having none. If you find yourself falling victim to such issues, or copyright infringement, it’s probably time to partner with an expert designer and up the game like a pro.

When graphic artists and copywriters work together, they can both flourish. Part of the reason is that design connects directly with the side of the brain that is responsible for creative thinking, image recognition and such like, while writing occupies the other side that handles logic and critical thinking.

For any content to hook prospects and compel immediate action, these forces must come together. And to get the best results designers and copywriters should not transfer works, but handle it side-by-side.

Other Benefits

There’s a plethora of them, but following are the key benefits of copywriter-designer collaborations:

Unlocking New Ideas

According to William and Phyllis Mack of the Mack Institute for Innovation Management, choosing the right partners is the first step to successful innovation:

In today’s globalized business environment, firms are no longer developing innovations in a vacuum. Instead, companies often work with partners from all over the world to develop innovative strategies and products.

Are innovative ideas important to copywriters and designers? There’s no other answer than yes, and experience has shown that more ideas emerge when these sets of creatives work together.

Even in science, it’s easier to make new discoveries when scientists share ideas rather than working as a lone genius. “The best ideas don’t come from working in a silo,” says Michele Kamenar.

Enabling Premium Service / Increased Authority

To deliver excellent service and drive better bottom line results for all parties, you probably know already that you cannot thrive in isolation as a copywriter or designer. You must collaborate!

Sara Duane-Gladden of Specky Boy says:

The jobs of copywriters and designers are very similar. They are both masters of their crafts. They express complex concepts and ideas in bite-sized bits that convey meaning in a moment. The fact that one does all this with words while the other accomplishes it with images isn’t important: They are kindred, creative spirits that can amplify their abilities when they work together.

So if you do not want to keep going back and forth, but rather accelerate quality service and build more authority, you should collaborate.

Reducing the Burden

As a copywriter with a long list of deadlines, you’re always on the search for an expert designer to turn some text into visuals. Found one, you’re still not off the hook. You keep reviewing because only an impeccable job would satisfy your clients and win you more referrals. On the other hand, a designer goes through a similar situation each time there’s a need to come up with a masterpiece that would complement an infographic or other visuals.

The process can be time-consuming and difficult. With collaboration, however, it can be lessened and streamlined. In fact, a teamwork approach will enhance efficiency on both sides.

Growing from Solopreneur Status to an Agency

Successful collaboration offers a chance for freelancers to move to the next level of establishing an agency.

A freelance copywriter with a web design expert needs only a person who offers technical SEO. Why not add that, combine all the skills, start an agency, get more clients and charge more?

Going Forward

Designers and copywriters are important personalities in the world of digital business. Media and SEO companies, PR organizations, marketing and advertising agencies, all need them to meet their bottom line.

If you’re one, not only can you generate new ideas through efficient collaboration, you can also increase the quality of your service, minimize the hassles, and expand your business.

Mega Snow & Winter Bundle from Feingold Design – only $11!

Source p img {display:inline-block; margin-right:10px;} .alignleft {float:left;} p.showcase {clear:both;} body#browserfriendly p, body#podcast p, div#emailbody p{margin:0;} How Designers & Copywriters Can Collaborate (and Why They Should) published first on http://ift.tt/2fA8nUr

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How Designers & Copywriters Can Collaborate (and Why They Should)

The online world is dynamic and constantly evolving. One method holds the high ground today only to lose it tomorrow. But in spite of this volatile nature, one thing remains the sine qua non of online success: Content.

However, the question remains whether there’s a type of web content which is one-size-fits-all.

The short answer is no.

Big brands beat online competition by churning out high-quality content—well-knitted text and visuals in the form of blog posts—as a tool for lead generation. Doing this, they know that using a one-way approach to content creation in today’s age of big data and visual culture will take them nowhere.

Let’s face it, designer-copywriter collaboration is a great idea every freelancer or solopreneur operating in the digital marketing world should consider, for creating good web content.

Here’s a thumbnail analysis of why, and the benefits of going down that road.

All-in-one Content Offers Greater Value

Because the Internet is jam-packed, attention is perhaps the most expensive thing online. According to Jakob Nielsen, an average web visitor is likely to read only 20-28% of a blog post. The only power to extend the duration lies in truly compelling content.

And what is that? Any beautifully crafted article that’s saturated with high-value, attention-grabbing images and visuals.

But if you’ve never tried this before, you might doubt its efficiency. Luckily for you, experts say that articles with images get 94% more total views than text-only posts. And there’s more: infographics deliver up to 120-180% more engagement thereby increasing viewers’ retention, engagement and, ultimately, sales.

Better Illustrations

What makes the above possible is the extraordinary power of visual content in making a digestible illustration of textual messages. Indeed, “a picture is worth a thousand words.”

It’s not only about illustration, however. Readers retain 65% of any information three days later, when communicated through visuals.

Text-Visual Content is Brain Friendly

One of the top reasons why brands go blogging is to provide sufficient insights, thus making it easier for prospects to comprehend how their products and services work. Simply put, the method yields well, as 37% of marketers say visuals are essential form of content.

The reason, is that the human brain processes visual data 60,000 times quicker than text. Brain Rules also notes that:

We [human beings] are incredible at remembering pictures. Hear a piece of information, and three days later you’ll remember 10% of it. Add a picture and you’ll remember 65%.

It’s clear: web visitors do not struggle to remember details when they’re given all-inclusive memorable content.

SEO, SEO, SEO

Visual content is just so amazing. Going from merely adding glamour to a blog post, to creating other essential values, visuals can boost webpage ranks on search engines when seamlessly integrated into a body of valuable text.

If SEO were key to content marketing success, creating all-inclusive content is a task that you cannot ignore – and that’s easier done through collaborative efforts, both from SEO and ROI perspectives.

Why Collaboration Matters

The significance of having the right visuals alongside written content has become more evident. However, choosing the wrong content is as disadvantageous as having none. If you find yourself falling victim to such issues, or copyright infringement, it’s probably time to partner with an expert designer and up the game like a pro.

When graphic artists and copywriters work together, they can both flourish. Part of the reason is that design connects directly with the side of the brain that is responsible for creative thinking, image recognition and such like, while writing occupies the other side that handles logic and critical thinking.

For any content to hook prospects and compel immediate action, these forces must come together. And to get the best results designers and copywriters should not transfer works, but handle it side-by-side.

Other Benefits

There’s a plethora of them, but following are the key benefits of copywriter-designer collaborations:

Unlocking New Ideas

According to William and Phyllis Mack of the Mack Institute for Innovation Management, choosing the right partners is the first step to successful innovation:

In today’s globalized business environment, firms are no longer developing innovations in a vacuum. Instead, companies often work with partners from all over the world to develop innovative strategies and products.

Are innovative ideas important to copywriters and designers? There’s no other answer than yes, and experience has shown that more ideas emerge when these sets of creatives work together.

Even in science, it’s easier to make new discoveries when scientists share ideas rather than working as a lone genius. “The best ideas don’t come from working in a silo,” says Michele Kamenar.

Enabling Premium Service / Increased Authority

To deliver excellent service and drive better bottom line results for all parties, you probably know already that you cannot thrive in isolation as a copywriter or designer. You must collaborate!

Sara Duane-Gladden of Specky Boy says:

The jobs of copywriters and designers are very similar. They are both masters of their crafts. They express complex concepts and ideas in bite-sized bits that convey meaning in a moment. The fact that one does all this with words while the other accomplishes it with images isn’t important: They are kindred, creative spirits that can amplify their abilities when they work together.

So if you do not want to keep going back and forth, but rather accelerate quality service and build more authority, you should collaborate.

Reducing the Burden

As a copywriter with a long list of deadlines, you’re always on the search for an expert designer to turn some text into visuals. Found one, you’re still not off the hook. You keep reviewing because only an impeccable job would satisfy your clients and win you more referrals. On the other hand, a designer goes through a similar situation each time there’s a need to come up with a masterpiece that would complement an infographic or other visuals.

The process can be time-consuming and difficult. With collaboration, however, it can be lessened and streamlined. In fact, a teamwork approach will enhance efficiency on both sides.

Growing from Solopreneur Status to an Agency

Successful collaboration offers a chance for freelancers to move to the next level of establishing an agency.

A freelance copywriter with a web design expert needs only a person who offers technical SEO. Why not add that, combine all the skills, start an agency, get more clients and charge more?

Going Forward

Designers and copywriters are important personalities in the world of digital business. Media and SEO companies, PR organizations, marketing and advertising agencies, all need them to meet their bottom line.

If you’re one, not only can you generate new ideas through efficient collaboration, you can also increase the quality of your service, minimize the hassles, and expand your business.

Mega Snow & Winter Bundle from Feingold Design – only $11!

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[architectnews]

Petrol Corporate Building, Slovenia

Petrol Corporate Building, Slovenia Commercial Architecture, LjubljanaArchitecture Development, Images

Petrol Corporate Building in Ljubljana

3 Feb 2021

Petrol Corporate Building

Design: Enota

Location: Ljubljana, Slovenia

In its design, the new Petrol Corporate Building complements the orientation of a company that is transforming itself from an oil trader to a provider of green energy.

Together with the park, it is designed as a comprehensive arrangement of the area along Ljubljana’s middle ring and represents a key point along this road. At the important inner circle crossroads, the vertical element is emphasized in line with the urban design of the city. From this point, the building mass gradually decreases along the street and towards the park. The terrace on the lower part of the roof and the park merge into a continuous space, while the green roof increases the quality of the working environment and emphasizes the environmentally friendly orientation of the company.

The cityscape composing tower at the crossroads and the functionally appropriate horizontal lamellas are formally transformed into a uniform volume with a slender and elegant emphasis in the southern corner and continuous, predominantly green, amphitheatric roof opening towards the park. Cut-outs in the volume are forming covered spaces (arcade corridor) towards the streets, as a counterpart to the arcades on the historically important stadium designed by Plečnik and at the same time covering the entrances to the building. Behind the building there is a park to which the building faces with its large covered square – a loggia. Occasionally this square is converted into a large open-air event, where the building serves as a shelter from road traffic noise. The design of the outer paved areas is summarized by the design of the building and its modularity. Part of the park area is designed as a ground fountain that can be switched off during large events, thus increasing the usable event area.

The generous volume of the building allows the realization of large multi-storey interior spaces. They are a hybrid between exterior and interior space, in which ideal climatic conditions can be maintained. Between these spaces and the exterior façade, work spaces are organized, comprising closed areas that mostly face the building’s exterior façade, while the open work spaces and, above all, the communications and common spaces are oriented towards the inner void. Thus they are naturally lit, as the void is generously illuminated from the large north windows. The voids also allow visual and physical connections through many staircases that connect corresponding rooms in other parts of the building.

Due to the spatial design of the building, all work surfaces are extremely heterogeneous – from the least exposed spaces in distant corners to completely open ones in the middle of the void and without ceilings. Areas covered with a ceiling can also be soundproofed, and this can be done before or even after the building starts operating. All workrooms are completely modular. In combination with the technical raised floor, this modularity offers efficient flexibility. As a result, all functional changes can be carried out without any significant impact on employees or building operation. The partition walls are modular to a 3,0 x 3,0 m steel construction grid and can be moved virtually anywhere across the building.

The programmatic arrangement in the building is usually completely flexible, but of course some rules apply. The business program is located mostly in the southern, higher part of the building, but spreads to the northern part of the building in the lower floors. Here, most of the space is used as a public program of public utility work. The southern part of the parterre is mainly intended for business visitors. The separation of the business and public entrance area enables smooth operation, for example during events in public spaces. It is possible to connect these spaces if such a connection should prove to be a more convenient solution for the user. The two typologically different programs are connected on several levels, which allows an interactive and random connection of different contents.

The communication paths usually lead to areas around the inner atriums and allow for a good visual perception of the space and thus easy orientation. These paths are lined with open workspaces, which lead to closed workspaces along the façade. Vertical connections with conventional elevator shafts and (evacuation) staircases allow “randomly” arranged open staircases that usually connect adjacent floors. Like the other communication areas, they allow fast and unusual connections between adjacent programs and thus become spaces for spontaneous encounters and interactions.

Petrol Corporate Building in Ljubljana, Slovenia – Building Information

Design: Enota

Type: invited competition, 1st prize Year: 2019 Status: in progress

Size: 41.650 sqm Site: 18.990 sqm Footprint: 4.210 sqm

Client: Petrol d.d. Location: Ljubljana, Slovenia Coordinate: 46°4’8.7″N 14°30’38.371″E

Project Team: Dean Lah, Milan Tomac, Carlos Cuenca Solana, Nuša Završnik Šilec, Sara Ambruš, Sara Mežik, Eva Tomac, Jakob Kajzer, Urška Malič, Polona Ruparčič, Peter Sovinc, Maja Majerič

Images: collaborators Spacer (visualisations), Protim Ržišnik Perc (BIM, structural, instalations)

Enota

Petrol Corporate Building, Slovenia images / information from Enota

Location: Ljubljana, Slovenia

Architecture in Slovenia

Slovenian Architecture Designs – chronological list

Slovenian Architecture News

Selected buildings by enota on e-architect:

Wellness Plesnik, Solčava, Slovenia photo : Miran Kambič Wellness Plesnik

Qicun Hot Spring Healthness Resort, Qicun, Xinzhou, Shanxi, China image courtesy of architects Qicun Hot Spring Healthness Resort

Koper Central Park, Koper image courtesy of architects Koper Central Park

Wellness Orhidelia Wellness Orhidelia

Slovenian Architecture – Selection

Celje Market Design: Arhitektura Krušec Celje Market

Izola Housing Design: Ofis Arhitekti Izola Housing

Slovenian Architects

Comments / photos for the Petrol Corporate Building, Ljubljana page welcome

Slovenia

The post Petrol Corporate Building, Slovenia appeared first on e-architect.

[unixcommerce]

How Designers & Copywriters Can Collaborate (and Why They Should)

The online world is dynamic and constantly evolving. One method holds the high ground today only to lose it tomorrow. But in spite of this volatile nature, one thing remains the sine qua non of online success: Content.

However, the question remains whether there’s a type of web content which is one-size-fits-all.

The short answer is no.

Big brands beat online competition by churning out high-quality content—well-knitted text and visuals in the form of blog posts—as a tool for lead generation. Doing this, they know that using a one-way approach to content creation in today’s age of big data and visual culture will take them nowhere.

Let’s face it, designer-copywriter collaboration is a great idea every freelancer or solopreneur operating in the digital marketing world should consider, for creating good web content.

Here’s a thumbnail analysis of why, and the benefits of going down that road.

All-in-one Content Offers Greater Value

Because the Internet is jam-packed, attention is perhaps the most expensive thing online. According to Jakob Nielsen, an average web visitor is likely to read only 20-28% of a blog post. The only power to extend the duration lies in truly compelling content.

And what is that? Any beautifully crafted article that’s saturated with high-value, attention-grabbing images and visuals.

But if you’ve never tried this before, you might doubt its efficiency. Luckily for you, experts say that articles with images get 94% more total views than text-only posts. And there’s more: infographics deliver up to 120-180% more engagement thereby increasing viewers’ retention, engagement and, ultimately, sales.

Better Illustrations

What makes the above possible is the extraordinary power of visual content in making a digestible illustration of textual messages. Indeed, “a picture is worth a thousand words.”

It’s not only about illustration, however. Readers retain 65% of any information three days later, when communicated through visuals.

Text-Visual Content is Brain Friendly

One of the top reasons why brands go blogging is to provide sufficient insights, thus making it easier for prospects to comprehend how their products and services work. Simply put, the method yields well, as 37% of marketers say visuals are essential form of content.

The reason, is that the human brain processes visual data 60,000 times quicker than text. Brain Rules also notes that:

We [human beings] are incredible at remembering pictures. Hear a piece of information, and three days later you’ll remember 10% of it. Add a picture and you’ll remember 65%.

It’s clear: web visitors do not struggle to remember details when they’re given all-inclusive memorable content.

SEO, SEO, SEO

Visual content is just so amazing. Going from merely adding glamour to a blog post, to creating other essential values, visuals can boost webpage ranks on search engines when seamlessly integrated into a body of valuable text.

If SEO were key to content marketing success, creating all-inclusive content is a task that you cannot ignore – and that’s easier done through collaborative efforts, both from SEO and ROI perspectives.

Why Collaboration Matters

The significance of having the right visuals alongside written content has become more evident. However, choosing the wrong content is as disadvantageous as having none. If you find yourself falling victim to such issues, or copyright infringement, it’s probably time to partner with an expert designer and up the game like a pro.

When graphic artists and copywriters work together, they can both flourish. Part of the reason is that design connects directly with the side of the brain that is responsible for creative thinking, image recognition and such like, while writing occupies the other side that handles logic and critical thinking.

For any content to hook prospects and compel immediate action, these forces must come together. And to get the best results designers and copywriters should not transfer works, but handle it side-by-side.

Other Benefits

There’s a plethora of them, but following are the key benefits of copywriter-designer collaborations:

Unlocking New Ideas

According to William and Phyllis Mack of the Mack Institute for Innovation Management, choosing the right partners is the first step to successful innovation:

In today’s globalized business environment, firms are no longer developing innovations in a vacuum. Instead, companies often work with partners from all over the world to develop innovative strategies and products.

Are innovative ideas important to copywriters and designers? There’s no other answer than yes, and experience has shown that more ideas emerge when these sets of creatives work together.

Even in science, it’s easier to make new discoveries when scientists share ideas rather than working as a lone genius. “The best ideas don’t come from working in a silo,” says Michele Kamenar.

Enabling Premium Service / Increased Authority

To deliver excellent service and drive better bottom line results for all parties, you probably know already that you cannot thrive in isolation as a copywriter or designer. You must collaborate!

Sara Duane-Gladden of Specky Boy says:

The jobs of copywriters and designers are very similar. They are both masters of their crafts. They express complex concepts and ideas in bite-sized bits that convey meaning in a moment. The fact that one does all this with words while the other accomplishes it with images isn’t important: They are kindred, creative spirits that can amplify their abilities when they work together.

So if you do not want to keep going back and forth, but rather accelerate quality service and build more authority, you should collaborate.

Reducing the Burden

As a copywriter with a long list of deadlines, you’re always on the search for an expert designer to turn some text into visuals. Found one, you’re still not off the hook. You keep reviewing because only an impeccable job would satisfy your clients and win you more referrals. On the other hand, a designer goes through a similar situation each time there’s a need to come up with a masterpiece that would complement an infographic or other visuals.

The process can be time-consuming and difficult. With collaboration, however, it can be lessened and streamlined. In fact, a teamwork approach will enhance efficiency on both sides.

Growing from Solopreneur Status to an Agency

Successful collaboration offers a chance for freelancers to move to the next level of establishing an agency.

A freelance copywriter with a web design expert needs only a person who offers technical SEO. Why not add that, combine all the skills, start an agency, get more clients and charge more?

Going Forward

Designers and copywriters are important personalities in the world of digital business. Media and SEO companies, PR organizations, marketing and advertising agencies, all need them to meet their bottom line.

If you’re one, not only can you generate new ideas through efficient collaboration, you can also increase the quality of your service, minimize the hassles, and expand your business.

Mega Snow & Winter Bundle from Feingold Design – only $11!

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[architectnews]

Maestoso Hotel & Spa in Lipica, Slovenia

Maestoso Hotel & Spa in Lipica, Slovenia Commercial Architecture, Competition Winners, Images

Maestoso Hotel & Spa in Slovenia

Updated 18 Dec 2020 + 30 July 2020

Maestoso Hotel & Spa

Design: Enota

Location: Lipica, Slovenia

Construction of Maestoso Hotel & Spa in Lipica has begun!

Added images:

30 July 2020

The stud farm was founded in 1580 when a decision was made at the Habsburg court to raise horses, a key strategic commodity of the time, in their own territory. The Andalusian horse proved to be ideal – the Karst, where the stud farm is located, is very similar to Spain in its soil and climate, likely leading Charles II, Archduke of Austria to use the abandoned summer mansion belonging to the archbishop of Trieste for the court stud farm. Two hundred years of intensive breeding and selecting for desirable traits ultimately produced the renowned Lipizzaner breed.

The area of cultivated karst landscape of Stud Farm Lipica comprises laid out pastures and meadow areas featuring protective fences, oak groves, and tree lanes. Lipica’s cultural landscape is a self-contained and redeveloped natural environment whose development has been rooted in the centuries-long tradition of raising purebred horses.

As required by the horse-breeding, people have ameliorated and cultivated the barren karst landscape into surfaces suitable for grazing and haying. Lipica thus gained its present-day congruous appearance before 1817, as evidenced by a contemporary land survey depiction. Even before this time, the entire estate had been homogenously fenced off by a typical karstic dry stone wall 8 km in length.

Such extensive undertaking did not merely fulfil the functional aspect but also held symbolic significance for the comprehensiveness and exceptionality of Lipica’s cultural landscape. In the historical sense, the land use has always been committed to uninterrupted raising of the singular breed of horses. The spatial congruity of the original stud farm producing one of the oldest breeds of horses gives Lipica’s cultural landscape the mark of exceptionality and makes it peerless on a global scale.

The historic built core of Lipica, designed around the Renaissance mansion, gained the appearance of a congruous whole in the early decades of the 17th century. Through the ages, it had continued to develop until large tourist accommodation buildings were built in the 1970s, as the exceptionality of Stud Farm Lipica piqued the interest of visitors from across the world.

Maestoso Hotel & Spa is the largest of all accommodation buildings in Lipica. Together with the casino, it is the visitors’ primary contact with the stud farm environment. Its relatively aggressive appearance – due to the use of architectural elements of a certain period – poses a strong, even distracting contrast with the smoothness of the access paths used by the visitors to access the complex as a whole.

The distinctive line of white fences which undulate among the green tree lanes and the rest of the upkept natural landscape with the grazing herds of the celebrated white horses terminates rather ungraciously at the car park with the overbearing presence of the existing hotel building.

The fundamental guideline in designing the renovation and expansion of the hotel was to find a way to tone down the building’s presence in the space. Instead of the customary pursuit of the most appropriate appearance, the main consideration became the attempt at dematerialising the built masses.

The proposed intervention proposes purging the hotel’s facade of all added architectural elements and unifying the structure’s expression by establishing a new, light load-bearing structure of the balconies, which have so far only featured on parts of the buildings. The new structural membrane enveloping the entire hotel and swimming pool area establishes a sort of an intermediate space between the buildings and the landscape.

The interplay of light and shade breaks down the monolithic built masses and, together with the envisaged greening of the existing volume with climbing plants, dematerialises the building to the greatest extent possible and endows it with a distinctive and recognisable character. The swimming pool building, which doesn’t feature balconies and where the large glass surfaces represent the key element of the existing facade, sees the timber-structure enclosure augmented with reflective glazing, which further dematerialises the volume.

Special attention was devoted to the planned expansion of accommodation capacity, which would contribute to the already substantial built mass. Crucially, all the existing service- and other un(der)used facilities are repurposed as new accommodation; in this way, the increase in capacity is found primarily on the inside rather than on the outside. The only additions to the original volume are a reduced deck floor, which replaces the currently unused gable roof, and a short courtside wing of the hotel. The latter does double duty of also blocking the views from the existing rooms onto the service yard, another insensitive formerly intervention into this delicate space.

For the building to be better connected with the cultural landscape, the renovation intervention also envisages the elimination of the car park immediately in front of the building, transforming it into a park so as to gain the room for the expansion of the covered exterior programme terraces.

All the eaves are also designed as a latticed structure of white timber glue-laminated beams, which provides an additional upgrade to the new, distinctly recognisable expression of the complex. The exterior paving is predominantly executed in compressed bonded sand, which softly links the function surfaces of the hotel with the laid out natural landscape of the stud farm.

The interiors of the renovated hotel and pool section are designed as a modern interpretation of the horse-stable interior spaces. As such, the public programme is designed as a particularly flexible space, which may be adapted depending on a given need using the folding partition walls.

The existing buildings are stripped to the raw concrete structure, which remains visible and acts as a suitable frame for the minimal additional interventions ensuring a warm expression of the interior space. Combining the use of materials which the visitors associate with the materials used in the stables with the visible installations network without needless concealment mentally connects the interiors of all the stud farm’s buildings into a inseparable whole.

The raw iron, timber boards, hay, the concrete floors in the rooms and the floors made of cut wooden dowels in the public programme combined with carefully designed lighting and small, movable pieces of furniture and decoration form a warm space, which becomes a logical enhancement to the complex’s unique programme and location.

Maestoso Hotel & Spa, Slovenia – Building Information

Design: Enota Type: open anonymus competition, first prize Year: 2018 Status: in progress

Size: 11.380 sqm Site: 20.650 sqm Footprint: 6.600 sqm

Client: Holding Kobilarna Lipica Location: Lipica, Slovenia Coordinates: 45°40’07.1″N 13°52’57.1″E

Project Team: Dean Lah, Milan Tomac, Polona Ruparčič, Eva Tomac, Carlos Cuenca Solana, Urška Malič, Sara Mežik, Nuša Završnik Šilec, Peter Sovinc, Jakob Kajzer, Jurij Ličen, Peter Karba, Sara Ambruš, Goran Djokić

Landscape Architecture: Bruto

Images: Collaborators Spacer

Enota

Maestoso Hotel & Spa in Lipica, Slovenia images / information from Enota

Location: Lipica, Sežana, Littoral region, Slovenia

Architecture in Slovenia

Slovenian Architecture Designs – chronological list

Slovenian Architecture News

Selected buildings by enota on e-architect:

Wellness Plesnik, Solčava, Slovenia photo : Miran Kambič Wellness Plesnik

Qicun Hot Spring Healthness Resort, Qicun, Xinzhou, Shanxi, China image courtesy of architects Qicun Hot Spring Healthness Resort

Koper Central Park, Koper image courtesy of architects Koper Central Park

Wellness Orhidelia Wellness Orhidelia

Slovenian Architecture – Selection

Celje Market Design: Arhitektura Krušec Celje Market

Izola Housing Design: Ofis Arhitekti Izola Housing

Slovenian Architects

Comments / photos for the Maestoso Hotel & Spa in Lipica, Slovenia page welcome

The post Maestoso Hotel & Spa in Lipica, Slovenia appeared first on e-architect.