#Owe Jonsson

[a-study-in-crime]

First picture: Christian Larsson. Second picture: Andreas Clarström, Johan Flykt and Dennis Jonsson

The Murder of Christian Larsson

The murder

26-year-old Christian Larsson had struggled with substance abuse for a long time when he decided to go to rehab. However, he decided to wait just a little while longer, since he had hurt his jaw badly and wanted it to heal properly before rehab. Christian’s dream of becoming sober never became reality; he was tortured and murdered before he had the chance.

Christian was brutally tortured by three men; Dennis Jonsson (19 years old), Johan Flykt (20 years old), and Andreas Clarström (19 years old). They forced Christian into a bathtub where they showered him with ice-cold water. They also hit him several times with a hammer and punched him in the face. The perpetrators then started to stab Christian in his stomach, back, arm, legs, and feet. They ended the torture by slitting his throat. The motive? Christian reportedly owed some money to one of the murderers and refused to give it to him.

Jonsson, Flykt, and Clarström then took the body to a wooded area, where they dismembered Christian’s body. They also filmed the ordeal, and they laughed while they detached the head from the rest of Christian’s body. All of Christian’s teeth were pulled out, probably to make identification harder. They wrapped up all of the body parts in black plastic bags and dumped them in a lake.

Christian’s body was found several weeks later. One of the perpetrators had told a friend about what he and the others had done, and the friend reported him to the police. All three of the murderers were soon arrested.

Trial and aftermath

Jonsson, Flykt, and Clarström were all found guilty of murder. Jonsson was sentenced to 12 years in prison, Flykt was sentenced to 11 years and Clarström was sentenced to ten years. They have all been released, and Johan Flykt died in March 2020. 

[thelastchair]

Powder Magazine

(Written by Sam Cox - December 28, 2020)

Growing up in Montana, my winter free time was consumed by skiing. Big Sky was the destination when I was barely old enough to walk. Eventually we made the move to Bozeman and Bridger Bowl became my second home. During the early years, my family made the trek to a handful of Warren Miller movies when they were on tour in the fall and Snow Country was the magazine subscription that landed on the coffee table. I was vaguely aware of Jackson Hole, Snowbird and Squaw Valley and my father would occasionally regale me with tales of skiing (read Après) in Germany when he was in the Army. At some level, I already understood that there was something special about Bridger, but realistically, my sphere of outside influence was quite small. Christmas of 1989 turned my entire world upside down. My aunt and uncle are longtime Salt Lake City residents and Brighton skiers. Typically they would send a package each year with the customary cookies, toffee and a card. However, this year they sent two VHS tapes and a magazine - Ski Time, Blizzard of Aahhh’s and a copy of Powder. Things would never be the same for me. Scot Schmidt became my hero, Greg Stump was taking skiing into uncharted territory and above it all, Powder created an eloquent voice for our sport and was the fabric that held things together. Even at my young age, everything that I’d intuitively sensed before was distilled into a potent desire to devote myself to the simple pursuit of being a skier.

Johan Jonsson, Engelberg, Switzerland - Photo: Mattias Fredriksson/POWDER

Powder was founded in Sun Valley by the Moe brothers in 1972 as an annual portfolio of The Other Ski Experience. After several years of running the magazine, Jake and David Moe sold Powder to the owner of Surfer Magazine. A repurposed aircraft hangar in San Juan Capistrano became the new home of skiing’s most prestigious publication. Over time, there was an ebb and flow to the size of staff and cast of characters, each person leaving their unique mark. For decades Powder weathered corporate acquisitions, office relocations and the constant metamorphosis of the ski industry - never losing its voice, Powder remained the benchmark. It was a source of creativity, inspiration and a defacto annal of history. For many it was also a shining beacon, a glimpse into a world filled with deep turns and iconic destinations - even if this world could only be inhabited inside the constructs of your imagination.

My story and the impact Powder had on the direction I would take is hardly unique. The magazine left an indelible impression on countless skiers. When the news broke this fall that operations were being suspended indefinitely, a heartbroken community took to social media to pay homage to the magazine and how it changed their lives and in some cases, careers. This is my version of a tribute and it’s definitely not perfect. In order to gain some perspective, I reached out to former staff members - a collective I admire and respect. It’s an attempt to articulate the essence of Powder, capture its influence on the skiing landscape and give credit to the people who made it come to life. 

Bernie Rosow, Mammoth Mountain, CA - Photo: Christian Pondella/POWDER

HANS LUDWIG - The Jaded Local

“Skiing has always been really tribal and one of the last vestiges of having an oral history. Powder was a unique concept, because they weren’t really concerned with the family market. They were just concerned about being really into skiing. Growing up in Colorado and skiing moguls, my coaches Robert and Roger were featured in the early Greg Stump films. Being in their orbit, I knew a little bit about skiing culture and what was going on out there, but didn’t have the whole picture. The Stump films resonated with me, but Ski/Skiing Magazines didn’t really do it for me. Powder was the door that opened things culturally, it was the only entry point before Blizzard of Aahhh’s.”

“Something that nobody gives Powder credit for, is sponsoring the Greg Stump, TGR and MSP movies and giving them full support right from their inception. It legitimized those companies and helped them become one of the catalysts for change and evolution in skiing. Ultimately this change would have happened, but at a much slower pace without the support of Powder. Getting support from Powder meant they’d weeded out the posers and kooks and what they were backing wasn’t something or someone that was “aspiring” they were a cut above.”

“Powder brought a lot of things into the mainstream, raised awareness and helped to legitimize them: Jean-Marc Boivin, Patrick Vallencant, Pierre Tardivel, telemarking, monoskiing, snowboarding, the JHAF, Chamonix, La Grave, Mikaela Shiffrin, fat skis pre McConkey, skiing in South America….the list goes on.”

“I had some rowdy trips with Powder. Writing “Lost In America,” I went Utah-Montana-Fernie-Banff-Revelstoke via pickup truck, only backcountry skiing and camping in the mud. It was a month plus. I did another month plus in Nevada, which was after back to back Jackson and Silverton. Total time was two plus months. That was fucked up, I was super loose after that whole thing. So many sketchy days with total strangers”

“People forget that Powder was around long before the advent of the fucking pro skier. Starting in 1996, the magazine was in the impact zone of the ski industrial complex. There is limited space for content each season. It was a challenge to balance the pressure coming from the athletes and brands to cover something that was going to make them money vs. staying true to the Moe brothers original intent and profiling an eccentric skier, a unique location or even fucking ski racing.”

Full Circle - Photo: MJ Carroll

KEITH CARLSEN - Editor

“When I was young, Ski/Skiing didn’t do anything for my spirit, but Powder lit me up. It ignited a passion in diehard skiers and gave them a voice and community. It was focused on the counter culture - the type of people who rearrange their lives to ski. This was in direct opposition to other magazines that were targeting rich people, trying to explain technique, sell condos or highlight the amenities at a ski area.”

“Skiing has always been my outlet and mechanism to get away from things in life. My two talents are writing and photography, so I enrolled at Western State with the direct goal of landing an internship at Powder. Even at 19, I had complete focus on the direction I wanted to take. If it didn’t work out, my backup plan was to be a ski bum. 48 hours after graduating, I was headed to southern California to live in my van and start my position at Powder. When the decision was made to close the magazine, it was really personal for me. Powder had provided me direction in life for the last 30 years and I needed some time to process it. In a way, it was almost like going to a funeral for a good friend - even though it’s gone, the magazine lives on in all of us and can never be taken away.”

“It was, and will always remain, one of my life’s greatest honors to serve as the editor-in-chief for Powder Magazine. It was literally a dream that came true. I’m so grateful for everyone who came before me and everyone who served after me. That opportunity opened literally hundreds of doors for me and continues to do so today. I owe the magazine a massive debt of gratitude. Every single editor was a warrior and fought for the title with their lives. They were doing double duty - not only from competition with other publications, but the internal struggle of budget cuts, staff reductions and trying to do more with less. Powder never belonged in the hands of a corporation. The magazine spoke to an impassioned community and never made sense to an accountant or on a ledger.”

Trevor Petersen, Mt. Serratus, BC - Photo: Scott Markewitz/POWDER

SIERRA SHAFER - Editor In Chief

“Powder celebrated everything that is good and pure in skiing. It highlighted the old school, the new and the irreverent. The magazine also called bullshit when they saw it. It was a checkpoint, a cultural barometer and an honest reflection on where skiing has been and where it’s going.”

“My involvement with Powder came completely out of left field. I was never an intern or established in the ski industry. My background was strictly in journalism, I was a skier living in Southern California and editing a newspaper. I knew that I wanted to get the fuck out of LA and Powder was that opportunity. It was a huge shift going from my job and life being completely separate to work becoming my life. Literally overnight, Powder became everything - friends, connections and part of my identity. It derailed my trajectory in the best possible way.”

Brad Holmes, Donner Pass, CA - Photo: Dave Norehad/POWDER

MATT HANSEN - Executive Editor

“Keith Carlsen was a man of ideas, he had tremendous vision and influence. He came up with the ideas for Powder Week and the Powder Awards in 2001. In some respects those two events saved the magazine.”

“Powder was the soul of skiing and kept the vibe, it changed people’s lives and inspired them to move to a ski town. As a writer I always wanted to think it was the stories that did that, but in truth it was the photography. Images of skiing truly became an art form, 100% thanks to Powder Magazine and Dave Reddick. Dave cultivated and mentored photographers, he was always searching for the unpredictable image from around the world and pressed the photographers to look at things from a different angle.”

“It sounds cliche, but writing a feature about Chamonix was the highlight for me. Sitting on the plane, things were absolutely unreal. I linked up with Nate Wallace and the whole experience from start to finish was out of my comfort zone. Ducking ropes to ski overhead pow on the Pas De Chèvre, walking out of the ice tunnel on a deserted Aiguille du Midi right as the clouds parted, late nights in town that were too fuzzy to recall. The energy of the place taught me a lot. I didn’t have a smartphone and there was no Instagram - I had time to write, observe, take notes and be present with who I was and with the experience. As a writer it didn’t get any better.”

“The true gift of working for Powder, was the once in a lifetime adventures that I wish I could have shared with my family, I was so lucky to have had those opportunities. It almost brought tears to me eyes.”

Peter Romaine, Jackson Hole, WY - Photo: Wade McKoy/POWDER

DAVE REDDICK - Director of Photography

“Just ski down there and take a photo of something, for cryin’ out loud!”  “I’ve found that channeling McConkey has been keeping it in perspective. Powder’s been shuttered. That sucks. What doesn’t suck is the good times and the people that have shared the ride thus far and I’m just thankful to be one of them. There’s been some really kind sentiments from friends and colleagues, but this must be said - Every editor (especially the editors), every art director (I’ve driven them nuts), every publisher and sales associate, every photographer, writer, and intern, and all the others behind the scenes who’ve ever contributed their talents get equal share of acknowledgment for carrying the torch that is Powder Mag. There’s hundreds of us! No decision has ever been made in a vacuum. Always a collective. At our best, we’ve been a reflection of skiers everywhere and of one of the greatest experiences in the world. It’s that community, and that feeling, that is Powder. I’m not sure what’s next and I’m not afraid of change but”  “There’s something really cool about being scared. I don’t know what!”

Scot Schmidt, Alaska - Photo: Chris Noble/POWDER

DEREK TAYLOR - Editor 

“Powder was the first magazine dedicated to the experience and not trying to teach people how to ski. It was enthusiast media focused on the soul and culture. It’s also important to highlight the impact Powder had outside of skiing - today you have the Surfer’s Journal effect where every sport wants that type of publication. However, prior to their inception, everybody wanted a version of Powder.”

“Neil Stebbins and Steve Casimiro deserve a lot of credit for the magazine retaining its voice and staying true to the core group of skiers it represented.”

“Keith Carlsen is responsible for the idea behind Super Park. This was a time when skiing had just gone through a stale phase. There was a newfound energy in park skiing and younger generations, this event helped to rebrand Powder and solidify its goal of being all inclusive. Racing, powder, park, touring - it’s all just skiing.”

Joe Sagona, Mt. Baldy, CA - Photo: Dave Reddick/POWDER

JOHNNY STIFTER - Editor In Chief

“What did Powder mean to me... Well, everything. As a reader and staffer, it inspired me and made me laugh. I learned about local cultures that felt far away and learned about far away cultures that didn’t feel foreign, if that makes sense.”

“But I cherished those late nights the most, making magazines with the small staff. Despite the deadline stress, I always felt so grateful to be working for this sacred institution and writing and editing for true skiers. We all just had so much damn fun. And it didn’t hurt meeting such passionate locals at hallowed places, like Aspen and Austria, that I once dreamed of visiting and skiing. The Powder culture is so inclusive and so fun, I never felt more alive.”

Doug Coombs, All Hail The King - Photo: Ace Kvale/POWDER

HEATHER HANSMAN - Online Editor

“Powder is a lifestyle and an interconnected circle of people. It’s about getting a job offer at Alta, opening your home to random strangers, locking your keys in your car and getting rescued by a friend you made on a trip years ago. Through the selfish activity of skiing, you can create a community of people you cherish and can depend on through highs and lows.”

Ashley Otte, Mike Wiegele Heli, BC - Photo: Dave Reddick/POWDER

The contributions of so many talented individuals made the magazine possible. I would like to express my sincere gratitude to everyone who shared their experience at Powder with me. Also, I want to thank Porter Fox and David Page for crafting inspiring feature stories that I enjoyed immensely over the years.

After the reality set in that the final issue had arrived, a void was created for generations of skiers. I’ve been focused on being thankful for what we had, rather than sad it’s gone. It’s a challenging time for print media and I wholeheartedly advocate supporting the remaining titles in anyway you can. In a culture driven by a voracious appetite for mass media consumption and instant gratification - I cherish the ritual of waiting for a magazine to arrive, appreciating the effort that went into creating the content and being able to have that physical substance in my hand. Thanks for everything Powder, you are missed, but your spirit lives on.  

Captain Powder - Photo: Gary Bigham/POWDER

[scottdotgreen]

Wanderers - a short film by Erik Wernquist from Erik Wernquist on Vimeo.

For more information and stills gallery, please turn to: erikwernquist.com/wanderers For youtube version, please turn here: youtube.com/watch?v=YH3c1QZzRK4 ----- UPDATE: For anyone interested I have made a clip with a few discarded scenes from this film, which can be seen here: vimeo.com/132183031 ----- Wanderers is a vision of humanity's expansion into the Solar System, based on scientific ideas and concepts of what our future in space might look like, if it ever happens. The locations depicted in the film are digital recreations of actual places in the Solar System, built from real photos and map data where available. Without any apparent story, other than what you may fill in by yourself, the idea of the film is primarily to show a glimpse of the fantastic and beautiful nature that surrounds us on our neighboring worlds - and above all, how it might appear to us if we were there.

As some may notice I have borrowed ideas and concepts from science fiction authors such as Kim Stanley Robinson and Arthur C. Clarke, just to name a few. And visually, I of course owe many tips of my hat to painter Chesley Bonestell - the legendary master of space art.

More directly, with kind permission from Ann Druyan I have also borrowed the voice of astronomer and author Carl Sagan to narrate the film. The audio I used are excerpts from his own reading of his book 'Pale Blue Dot: A Vision of the Human Future in Space' (1994, Random House, penguinrandomhouse.com/books/159735/pale-blue-dot-by-carl-sagan/) - needless to say, a huge inspiration for this film. ----- CREDITS: VISUALS BY - Erik Wernquist - erik@erikwernquist.com MUSIC BY - Cristian Sandquist - cristiansandquist@mac.com WRITTEN AND NARRATED BY - Carl Sagan - from his book 'Pale Blue Dot' penguinrandomhouse.com/books/159735/pale-blue-dot-by-carl-sagan/, courtesy of Ann Druyan, copyright by Democritus Properties, LLC, with all rights reserved COLOR GRADE BY - Caj Müller/Beckholmen Film - caj@beckholmenfilm.se LIVE ACTION PHOTOGRAPHY BY - Mikael Hall/Vidiotism - mikael@vidiotism.com LIVE ACTION PERFORMANCE BY - Anna Nerman, Camilla Hammarström, Hanna Mellin VOCALIST - Nina Fylkegård - nina@ladystardust.se THANK YOU - Johan Persson, Calle Herdenberg, Micke Lindgren, Satrio J. Studt, Tomas Axelsson, Christian Lundqvist, Micke Lindell, Sigfrid Söderberg, Fredrik Strage, Johan Antoni, Henrik Johansson, Michael Uvnäs, Hanna Mellin

THIS FILM WAS MADE WITH USE OF PHOTOS AND TEXTURES FROM: NASA/JPL, NASA/CICLOPS, NASA/Goddard Space Flight Center Scientific Visualization Studio, ESA, John Van Vliet, Björn Jonsson (and many others, of which I unfortunately do not know the names)

SUBTITLES & TRANSLATIONS PROVIDED BY - Victor Terrón (English, Spanish), Titus Ou (Traditional Chinese), John Walter (French), Shinwoo Jeon (Korean), Yoav Landsman & Ehud Maimon (Hebrew), Miguel Andrade (Brazilian Portuguese), Rik Delaet (Dutch), Mate Sršen (Croatian).

[earthstory]

Original caption:

Wanderers is a vision of humanity's expansion into the Solar System, based on scientific ideas and concepts of what our future in space might look like, if it ever happens. The locations depicted in the film are digital recreations of actual places in the Solar System, built from real photos and map data where available. Without any apparent story, other than what you may fill in by yourself, the idea of the film is primarily to show a glimpse of the fantastic and beautiful nature that surrounds us on our neighboring worlds - and above all, how it might appear to us if we were there.

As some may notice I have borrowed ideas and concepts from science fiction authors such as Kim Stanley Robinson and Arthur C. Clarke, just to name a few. And visually, I of course owe many tips of my hat to painter Chesley Bonestell - the legendary master of space art.

More directly, with kind permission from Ann Druyan I have also borrowed the voice of astronomer and author Carl Sagan to narrate the film. The audio I used are excerpts from his own reading of his book 'Pale Blue Dot: A Vision of the Human Future in Space' (1994, Random House, penguinrandomhouse.com/books/159735/pale-blue-dot-by-carl-sagan/) - needless to say, a huge inspiration for this film.

CREDITS: VISUALS BY - Erik Wernquist - erik@erikwernquist.com MUSIC BY - Cristian Sandquist - cristiansandquist@mac.com WRITTEN AND NARRATED BY - Carl Sagan - from his book 'Pale Blue Dot' penguinrandomhouse.com/books/159735/pale-blue-dot-by-carl-sagan/, courtesy of Ann Druyan, copyright by Democritus Properties, LLC, with all rights reserved COLOR GRADE BY - Caj Müller/Beckholmen Film - caj@beckholmenfilm.se LIVE ACTION PHOTOGRAPHY BY - Mikael Hall/Vidiotism - mikael@vidiotism.com LIVE ACTION PERFORMANCE BY - Anna Nerman, Camilla Hammarström, Hanna Mellin VOCALIST - Nina Fylkegård - nina@ladystardust.se THANK YOU - Johan Persson, Calle Herdenberg, Micke Lindgren, Satrio J. Studt, Tomas Axelsson, Christian Lundqvist, Micke Lindell, Sigfrid Söderberg, Fredrik Strage, Johan Antoni, Henrik Johansson, Michael Uvnäs, Hanna Mellin

THIS FILM WAS MADE WITH USE OF PHOTOS AND TEXTURES FROM: NASA/JPL, NASA/CICLOPS, NASA/Goddard Space Flight Center Scientific Visualization Studio, ESA, John Van Vliet, Björn Jonsson (and many others, of which I unfortunately do not know the names)

SUBTITLES & TRANSLATIONS PROVIDED BY - Victor Terrón (English, Spanish), Titus Ou (Traditional Chinese), John Walter (French), Shinwoo Jeon (Korean), Yoav Landsman & Ehud Maimon (Hebrew), Miguel Andrade (Brazilian Portuguese), Rik Delaet (Dutch).

[poetryasf-ck]

Good Grief #4 - Lloyd Robinson

Lloyd Robinson has almost twenty years of performance experience as an actor, poet, and musician. He is one of the few performers holding the title ‘Bad Boy Of Spoken Word’, is a multiple slam winner, the reigning Axis slam champion, and qualified for the Scottish National Slam Championship the last three years running.

Lloyd is the host and co-organiser of Edinburgh’s most exciting new-material poetry night, ‘The God Damn Debut Slam’ in the Scottish Poetry Library. He has been featured at many of Scotland’s more popular spoken word events, in particular Hidden Door Festival and StAnza literary festival. He has also independently released an album of spoken word and music, ‘Reclaimed Memories’, has a degree in Creative Writing & Drama, and a diploma in psychotherapy.

Image credit: Perry Jonsson

1. Why, if there was a reason, did you write this poem/these poems?

Catharsis. Therapy. As a tribute to my brother in law who took his own life, and to raise awareness of the very real issue of Male suicide. I have a compulsion to try and ‘fix’ bad situations, but obviously this was unfixable, so writing about it was the closest I could get.

2. Why, upon writing this poem/these poems, did you perform them?

To raise awareness. And to be totally honest, to shock the audience. I want them to be uncomfortable. I want them to remember this material out of everything else they see, and have a newfound respect for the gravity of the subject. Not only that, but suicide is still socially permissible to joke about, and I want people to think twice next time they laugh at it.

3. How does performing this piece change how you look at what happened to you?

It makes me feel more in control after something very chaotic. I like to think that he would like the piece and be proud of me.

4. How do you separate artistic performance from lived personal experience?

Focus entirely on replicating my more successful rehearsals, improving performance and heightening audience reaction. I am making art for public consumption, so I choose that as my focus. Also, quite subconsciously I (for the most part) avoid the ‘I’ pronoun, instead using ‘we’, which gives me a little more distance.

5. Do you find yourself affected negatively by performing this piece? If so, how do you look after yourself?

When I started performing it, I would be somewhat exhausted afterwards. These days though, not so much. It can depend on the audience. If they’re clearly very emotionally affected that has fed into my performance before. I’ve never lost control and become tearful, but I have felt intense.

6. Do you practice any aftercare after performing this piece (either for yourself or audiences)? (E.g., talking to audience members who are upset, taking some time out after your performance to ground yourself, ensuring you perform in places where you feel safe etc.)

I try and be around post-show; I reliably get at least one audience member come up to me afterwards who has been affected by suicide. They always thank me because being bereaved in this manner can completely alienate people and make them feel alone. For that reason I consider it important to perform this piece and make the time for them, so they realise they are not.

7. Do you do any content warnings for this piece? Why?

Depends on the night. If it’s a night with a more therapeutic lean, or it is specifically designed to be a safe space, or friendly to vulnerable people then yes. Really, in that context I probably wouldn’t perform it anyway unless it was actually requested or on theme. If not, then no. When people go out to see live entertainment, the performer should work in service of entertainment. Theatre isn’t supposed to be 100% safe, and performance poetry IS theatre. If an audience has come to a poetry show on purpose, the implicit relationship is that there will be emotional themes addressed, you don’t have to know anything about the scene to realise that. People watch theatre to be elevated and catharsis through experiencing challenging performances is a big part of that. Content warnings, unless handled very carefully, can break the rhythm and illusion of the show, as well as creating preconceptions about a piece.

EG; I have been in the audience when someone has started a poem with ‘trigger warning, suicide’ which IMMEDIATELY put me on edge. However, the poem itself was really comforting and I’m glad I ignored my instinct to leave.

THAT BEING SAID context is important, I’m not about to blanket damn trigger warnings. A LARGE part of serving the entertainment of the night is the ability to read the room, spot when something isn’t appropriate and make a call. If I’m doing the poem as part of a longer set, I will usually do a brief intro to it, not specifically making a content warning (although one is implied), but to steer the audience into a different energy. In reality you can never 100% tell which way a performance will go. Someone could be fine hearing a poem about suicide, but get upset with a poem about food because they have a history of eating disorders. There does come a point where you have to acknowledge all audience reaction as valid even if the audience straight up walks out. Sometimes trigger warnings are very necessary. Sometimes putting a trigger warning in front of a piece is actually more about giving yourself an illusion of control that you don’t, in reality, have.

8. Does the artist owe any kind of protection or safeguarding to their audience?

Yes and no. The artist owes organisers and programmers an accurate representation of their performance practice and general content so they can be booked for appropriate nights. They owe it to the audience to create art to the best of their ability. If their art is massively triggering, though, they have to be prepared to not be booked very often, or only for specific nights, or to have to put on their own shows. It is the organiser’s job to keep the audience safe, especially at curated nights, where they should know their regular audience well enough to bring in acts that will succeed. When there is an open mic element, the responsibility is a little more shared. Again, you have to read the room but you also have to acknowledge that you are a part of a community. If you are unfamiliar with the nights setup/it’s your first time, you should either scout it out first or bring a backup piece in case your chosen material isn’t going to work. There is no ‘don’t be an asshole’ rule, but there is an understanding that you should ‘try not to be an asshole’. Still, ultimately it is the organisers responsibility. They have to serve the needs of their night, and if someone steps to the mic and directly works against those needs, they have to be able to stop it.

BUT AGAIN this is not a hard and fast rule. Art practices don’t exist in a vacuum and absolutes are rarely sufficient to support the balance between safety and progress. Nuance exists.

For a scene in rude health, there needs to be a wide variety of event types. The safer spaces need to exist, because vulnerable people deserve entertainment and self-expression, but they ideally would exist in parallel with middle-of-the-road-pop-Poetry for the newcomers, and a more extreme end of the spectrum where limits can be tested, because such testings are VITAL to the evolution of the artform. ‘Saved’ by Edward Bond featured the stoning of a baby onstage and it resulted in a court case that DESTROYED the Thatcherite censorship of British theatre. ‘Shopping & Fucking’ featured drug abuse and violent rape, but broke new ground, opened doors for today’s pioneers of queer theatre and predicted the neo liberal society of today. ‘Ubu’ by Alfred Jarry was considered so nonsensical and artless that it caused TWO FUCKING RIOTS on opening night, but it spawned numerous artistic movements, without which we wouldn’t have Monty Python or Mighty Boosh. Nights need to exist where decency is malleable, simply for the evolution of the artform. Great art is not impossible when subjects are considered ‘off limits’ or ‘inappropriate’ BUT there are great things that can be achieved by breaking perceived barriers.

HOWEVER. NUANCE AGAIN.

We can’t have a blanket ‘anything goes’ approach, even at the most basic level. You have to restrict hate speech for a start, because one confident speaker given a platform can convert others to a cause. You have to no-platform predators and abusers because they will pretend to be innocent and use a platform to find more victims. This, as far as I can tell, is the most pressing responsibility an artist and an organiser has. It’s not a service to the artform, it’s a service to society, so in this case, yes, the artist, and to be honest EVERYONE is responsible for bombarding hatespeech, bigotry and abuse with poison until it dies like the fucking cancer that it is.

Thank you for coming to my TED talk.

9. Do you believe writing about areas such as grief, loss or trauma is a form of healthy catharsis or memorialisation?

Yes. NEXT QUESTION.

Alright, alright;

Writing stuff down can allow you to recognise and acknowledge your feelings much more clearly. Also, there are three poems that, whenever I perform them, will make me feel like the lost are still here with me.

In fact, every year on the anniversary of my brother in laws passing, I meet with my family, we chat, we support each other, and I perform two poems; the one I’m writing this survey about entitled ‘jump’, and another, more personal one that I rarely perform in public. Before I started organising this, we were stuck with ‘just getting through the day’ when it came around. It’s still the worst day of the year for us, but we have something to focus on that brings us together.

However, once again, we should be wary of absolutes. People can process grief in many different and utterly unexpected ways. This works for me and a few folk I know, but it could be catastrophic for others. Grief is one of those things where you have to acknowledge every possible emotion, no matter how illogical, as valid. If the bereaved responds by instinctively picking up a pen, whether to memorialise or seek catharsis, then writing is a valid response to grief. Therapy and/or seeking advice from medical professionals are also valid responses. It’s a simple case of ‘you do whatever makes you feel better’. If that includes enrolling in clown college and riding a unicycle everywhere; valid response.

10. What kind of warnings signs would you point out to someone new to poetry or performance who was performing about their traumas?

First of all, unless they specifically asked me, I don’t think I would. In this hypothetical I’m going to assume they are an adult presenting as neurotypical. They have a right to explore their own trauma/reclaim their narrative in whatever fashion suits them and I wouldn’t want to patronise them by giving the impression that I thought they needed help (see my question 9 chat about valid responses; we mustn’t tell people how to or how not to grieve). Humans are much hardier than they often give themselves credit for. The only context in which I would intercede would be someone clearly exhibiting signs of severe anxiety/depression, & I had even the slightest suspicion they might be a danger to themselves. However, these conditions make it very difficult for new voices to leave the house, let alone sign up for an open mic, so while I acknowledge there’s a risk, it isn’t a particularly likely scenario. I feel like that’s not the sort of answer you’re after, though.

I do think there is a bit of a danger (the extent of which I’m unsure of) that a new poet could see performances on YouTube and in slams that lead them to think they have to mine their own trauma to get material. The warning signs of this would be asking yourself ‘what can I write about’ and the answer being ‘ooh, that horrible thing that happened’.

When rehearsing the poem, it is perfectly normal to cry (or similar emotional release) even a few times. If you well up during a public performance, also fine AS LONG AS THE PERFORMER FEELS IT HELPS.

If, however, you have an uncontrollable emotional response EVERY TIME you perform it, I’d start to question whether you should.

If the idea of performing it causes anxiety above the usual pre-show nerves, and that anxiety reduces when you decide ‘oh I’ll perform something else instead’ then that’s a CLEAR indication.

It is hard to point to specific warning signs other than the above and feeling peer pressure to perform grief-motivated poetry, because everyone’s responses can be incredibly varied. All I’d really say is some advice I was given when I started writing;

“There are two types of writing; what you send out into the world and you do for yourself. The first type needs to flexible so you can improve it based on the responses you get. You have to learn that constructive criticism is valuable and not a personal attack. The second is imperfect and often messy, but it helps you learn about the craft and your own mind. Always remember the two are flexible. You can start writing something personal and realise it’s for everyone. You can send something out into the world and then entirely take it back upon realising that this was just for you.” 

lloydcarltonrobinson.bandcamp.com/releases

https://www.patreon.com/poetryasfuck

[infinitcooltour]

Wanderers - a short film by Erik Wernquist from Erik Wernquist on Vimeo.

For more information and stills gallery, please turn to: erikwernquist.com/wanderers For youtube version, please turn here: youtube.com/watch?v=YH3c1QZzRK4 ----- UPDATE: For anyone interested I have made a clip with a few discarded scenes from this film, which can be seen here: vimeo.com/132183031 ----- Wanderers is a vision of humanity's expansion into the Solar System, based on scientific ideas and concepts of what our future in space might look like, if it ever happens. The locations depicted in the film are digital recreations of actual places in the Solar System, built from real photos and map data where available. Without any apparent story, other than what you may fill in by yourself, the idea of the film is primarily to show a glimpse of the fantastic and beautiful nature that surrounds us on our neighboring worlds - and above all, how it might appear to us if we were there.

As some may notice I have borrowed ideas and concepts from science fiction authors such as Kim Stanley Robinson and Arthur C. Clarke, just to name a few. And visually, I of course owe many tips of my hat to painter Chesley Bonestell - the legendary master of space art.

More directly, with kind permission from Ann Druyan I have also borrowed the voice of astronomer and author Carl Sagan to narrate the film. The audio I used are excerpts from his own reading of his book 'Pale Blue Dot: A Vision of the Human Future in Space' (1994, Random House, penguinrandomhouse.com/books/159735/pale-blue-dot-by-carl-sagan/) - needless to say, a huge inspiration for this film. ----- CREDITS: VISUALS BY - Erik Wernquist - erik@erikwernquist.com MUSIC BY - Cristian Sandquist - cristiansandquist@mac.com WRITTEN AND NARRATED BY - Carl Sagan - from his book 'Pale Blue Dot' penguinrandomhouse.com/books/159735/pale-blue-dot-by-carl-sagan/, courtesy of Ann Druyan, copyright by Democritus Properties, LLC, with all rights reserved COLOR GRADE BY - Caj Müller/Beckholmen Film - caj@beckholmenfilm.se LIVE ACTION PHOTOGRAPHY BY - Mikael Hall/Vidiotism - mikael@vidiotism.com LIVE ACTION PERFORMANCE BY - Anna Nerman, Camilla Hammarström, Hanna Mellin VOCALIST - Nina Fylkegård - nina@ladystardust.se THANK YOU - Johan Persson, Calle Herdenberg, Micke Lindgren, Satrio J. Studt, Tomas Axelsson, Christian Lundqvist, Micke Lindell, Sigfrid Söderberg, Fredrik Strage, Johan Antoni, Henrik Johansson, Michael Uvnäs, Hanna Mellin

THIS FILM WAS MADE WITH USE OF PHOTOS AND TEXTURES FROM: NASA/JPL, NASA/CICLOPS, NASA/Goddard Space Flight Center Scientific Visualization Studio, ESA, John Van Vliet, Björn Jonsson (and many others, of which I unfortunately do not know the names)

SUBTITLES & TRANSLATIONS PROVIDED BY - Victor Terrón (English, Spanish), Titus Ou (Traditional Chinese), John Walter (French), Shinwoo Jeon (Korean), Yoav Landsman & Ehud Maimon (Hebrew), Miguel Andrade (Brazilian Portuguese), Rik Delaet (Dutch).

[ow-top-art-blog]

Artist - Emma Jonsson

Check my blog for more.

https://ow-top-art.tumblr.com/

Looking for Overwatch Gear?  Get it here!

[yohomedia]

Wanderers - a short film by Erik Wernquist from Erik Wernquist on Vimeo.

For more information and stills gallery, please turn to: erikwernquist.com/wanderers For youtube version, please turn here: youtube.com/watch?v=YH3c1QZzRK4 ----- UPDATE: For anyone interested I have made a clip with a few discarded scenes from this film, which can be seen here: vimeo.com/132183031 ----- Wanderers is a vision of humanity's expansion into the Solar System, based on scientific ideas and concepts of what our future in space might look like, if it ever happens. The locations depicted in the film are digital recreations of actual places in the Solar System, built from real photos and map data where available. Without any apparent story, other than what you may fill in by yourself, the idea of the film is primarily to show a glimpse of the fantastic and beautiful nature that surrounds us on our neighboring worlds - and above all, how it might appear to us if we were there.

As some may notice I have borrowed ideas and concepts from science fiction authors such as Kim Stanley Robinson and Arthur C. Clarke, just to name a few. And visually, I of course owe many tips of my hat to painter Chesley Bonestell - the legendary master of space art.

More directly, with kind permission from Ann Druyan I have also borrowed the voice of astronomer and author Carl Sagan to narrate the film. The audio I used are excerpts from his own reading of his book 'Pale Blue Dot: A Vision of the Human Future in Space' (1994, Random House, penguinrandomhouse.com/books/159735/pale-blue-dot-by-carl-sagan/) - needless to say, a huge inspiration for this film. ----- CREDITS: VISUALS BY - Erik Wernquist - erik@erikwernquist.com MUSIC BY - Cristian Sandquist - cristiansandquist@mac.com WRITTEN AND NARRATED BY - Carl Sagan - from his book 'Pale Blue Dot' penguinrandomhouse.com/books/159735/pale-blue-dot-by-carl-sagan/, courtesy of Ann Druyan, copyright by Democritus Properties, LLC, with all rights reserved COLOR GRADE BY - Caj Müller/Beckholmen Film - caj@beckholmenfilm.se LIVE ACTION PHOTOGRAPHY BY - Mikael Hall/Vidiotism - mikael@vidiotism.com LIVE ACTION PERFORMANCE BY - Anna Nerman, Camilla Hammarström, Hanna Mellin VOCALIST - Nina Fylkegård - nina@ladystardust.se THANK YOU - Johan Persson, Calle Herdenberg, Micke Lindgren, Satrio J. Studt, Tomas Axelsson, Christian Lundqvist, Micke Lindell, Sigfrid Söderberg, Fredrik Strage, Johan Antoni, Henrik Johansson, Michael Uvnäs, Hanna Mellin

THIS FILM WAS MADE WITH USE OF PHOTOS AND TEXTURES FROM: NASA/JPL, NASA/CICLOPS, NASA/Goddard Space Flight Center Scientific Visualization Studio, ESA, John Van Vliet, Björn Jonsson (and many others, of which I unfortunately do not know the names)

SUBTITLES & TRANSLATIONS PROVIDED BY - Victor Terrón (English, Spanish), Titus Ou (Traditional Chinese), John Walter (French), Shinwoo Jeon (Korean), Yoav Landsman & Ehud Maimon (Hebrew), Miguel Andrade (Brazilian Portuguese), Rik Delaet (Dutch).

[objectifmars]

ObjectifMars vous présente une vidéo de Erik Wernquist / For more information and stills gallery, please turn to: http://bit.ly/2XxiomN For youtube version, please turn here: https://www.youtube.com/watch?v=YH3c1QZzRK4 ----- UPDATE: For anyone interested I have made a clip with a few discarded scenes from this film, which can be seen here: http://bit.ly/2SCh5zj ----- Wanderers is a vision of humanity's expansion into the Solar System, based on scientific ideas and concepts of what our future in space might look like, if it ever happens. The locations depicted in the film are digital recreations of actual places in the Solar System, built from real photos and map data where available. Without any apparent story, other than what you may fill in by yourself, the idea of the film is primarily to show a glimpse of the fantastic and beautiful nature that surrounds us on our neighboring worlds - and above all, how it might appear to us if we were there. As some may notice I have borrowed ideas and concepts from science fiction authors such as Kim Stanley Robinson and Arthur C. Clarke, just to name a few. And visually, I of course owe many tips of my hat to painter Chesley Bonestell - the legendary master of space art. More directly, with kind permission from Ann Druyan I have also borrowed the voice of astronomer and author Carl Sagan to narrate the film. The audio I used are excerpts from his own reading of his book 'Pale Blue Dot: A Vision of the Human Future in Space' (1994, Random House, http://bit.ly/2Xxipal) - needless to say, a huge inspiration for this film. ----- CREDITS: VISUALS BY - Erik Wernquist - erik@erikwernquist.com MUSIC BY - Cristian Sandquist - cristiansandquist@mac.com WRITTEN AND NARRATED BY - Carl Sagan - from his book 'Pale Blue Dot' http://bit.ly/2Xxipal, courtesy of Ann Druyan, copyright by Democritus Properties, LLC, with all rights reserved COLOR GRADE BY - Caj Müller/Beckholmen Film - caj@beckholmenfilm.se LIVE ACTION PHOTOGRAPHY BY - Mikael Hall/Vidiotism - mikael@vidiotism.com LIVE ACTION PERFORMANCE BY - Anna Nerman, Camilla Hammarström, Hanna Mellin VOCALIST - Nina Fylkegård - nina@ladystardust.se THANK YOU - Johan Persson, Calle Herdenberg, Micke Lindgren, Satrio J. Studt, Tomas Axelsson, Christian Lundqvist, Micke Lindell, Sigfrid Söderberg, Fredrik Strage, Johan Antoni, Henrik Johansson, Michael Uvnäs, Hanna Mellin THIS FILM WAS MADE WITH USE OF PHOTOS AND TEXTURES FROM: NASA/JPL, NASA/CICLOPS, NASA/Goddard Space Flight Center Scientific Visualization Studio, ESA, John Van Vliet, Björn Jonsson (and many others, of which I unfortunately do not know the names) SUBTITLES & TRANSLATIONS PROVIDED BY - Victor Terrón (English, Spanish), Titus Ou (Traditional Chinese), John Walter (French), Shinwoo Jeon (Korean), Yoav Landsman & Ehud Maimon (Hebrew), Miguel Andrade (Brazilian Portuguese), Rik Delaet (Dutch).

[satyajeetvishwakarma]

Wanderers - a short film by Erik Wernquist from Erik Wernquist on Vimeo.

For more information and stills gallery, please turn to: erikwernquist.com/wanderers For youtube version, please turn here: youtube.com/watch?v=YH3c1QZzRK4 ----- UPDATE: For anyone interested I have made a clip with a few discarded scenes from this film, which can be seen here: vimeo.com/132183031 ----- Wanderers is a vision of humanity's expansion into the Solar System, based on scientific ideas and concepts of what our future in space might look like, if it ever happens. The locations depicted in the film are digital recreations of actual places in the Solar System, built from real photos and map data where available. Without any apparent story, other than what you may fill in by yourself, the idea of the film is primarily to show a glimpse of the fantastic and beautiful nature that surrounds us on our neighboring worlds - and above all, how it might appear to us if we were there.

As some may notice I have borrowed ideas and concepts from science fiction authors such as Kim Stanley Robinson and Arthur C. Clarke, just to name a few. And visually, I of course owe many tips of my hat to painter Chesley Bonestell - the legendary master of space art.

More directly, with kind permission from Ann Druyan I have also borrowed the voice of astronomer and author Carl Sagan to narrate the film. The audio I used are excerpts from his own reading of his book 'Pale Blue Dot: A Vision of the Human Future in Space' (1994, Random House, penguinrandomhouse.com/books/159735/pale-blue-dot-by-carl-sagan/) - needless to say, a huge inspiration for this film. ----- CREDITS: VISUALS BY - Erik Wernquist - erik@erikwernquist.com MUSIC BY - Cristian Sandquist - cristiansandquist@mac.com WRITTEN AND NARRATED BY - Carl Sagan - from his book 'Pale Blue Dot' penguinrandomhouse.com/books/159735/pale-blue-dot-by-carl-sagan/, courtesy of Ann Druyan, copyright by Democritus Properties, LLC, with all rights reserved COLOR GRADE BY - Caj Müller/Beckholmen Film - caj@beckholmenfilm.se LIVE ACTION PHOTOGRAPHY BY - Mikael Hall/Vidiotism - mikael@vidiotism.com LIVE ACTION PERFORMANCE BY - Anna Nerman, Camilla Hammarström, Hanna Mellin VOCALIST - Nina Fylkegård - nina@ladystardust.se THANK YOU - Johan Persson, Calle Herdenberg, Micke Lindgren, Satrio J. Studt, Tomas Axelsson, Christian Lundqvist, Micke Lindell, Sigfrid Söderberg, Fredrik Strage, Johan Antoni, Henrik Johansson, Michael Uvnäs, Hanna Mellin

THIS FILM WAS MADE WITH USE OF PHOTOS AND TEXTURES FROM: NASA/JPL, NASA/CICLOPS, NASA/Goddard Space Flight Center Scientific Visualization Studio, ESA, John Van Vliet, Björn Jonsson (and many others, of which I unfortunately do not know the names)

SUBTITLES & TRANSLATIONS PROVIDED BY - Victor Terrón (English, Spanish), Titus Ou (Traditional Chinese), John Walter (French), Shinwoo Jeon (Korean), Yoav Landsman & Ehud Maimon (Hebrew), Miguel Andrade (Brazilian Portuguese), Rik Delaet (Dutch).

[plutosavior]

Wanderers - a short film by Erik Wernquist from Erik Wernquist on Vimeo.

For more information and stills gallery, please turn to: erikwernquist.com/wanderers For youtube version, please turn here: youtube.com/watch?v=YH3c1QZzRK4 ----- UPDATE: For anyone interested I have made a clip with a few discarded scenes from this film, which can be seen here: vimeo.com/132183031 ----- Wanderers is a vision of humanity's expansion into the Solar System, based on scientific ideas and concepts of what our future in space might look like, if it ever happens. The locations depicted in the film are digital recreations of actual places in the Solar System, built from real photos and map data where available. Without any apparent story, other than what you may fill in by yourself, the idea of the film is primarily to show a glimpse of the fantastic and beautiful nature that surrounds us on our neighboring worlds - and above all, how it might appear to us if we were there.

As some may notice I have borrowed ideas and concepts from science fiction authors such as Kim Stanley Robinson and Arthur C. Clarke, just to name a few. And visually, I of course owe many tips of my hat to painter Chesley Bonestell - the legendary master of space art.

More directly, with kind permission from Ann Druyan I have also borrowed the voice of astronomer and author Carl Sagan to narrate the film. The audio I used are excerpts from his own reading of his book 'Pale Blue Dot: A Vision of the Human Future in Space' (1994, Random House, penguinrandomhouse.com/books/159735/pale-blue-dot-by-carl-sagan/) - needless to say, a huge inspiration for this film. ----- CREDITS: VISUALS BY - Erik Wernquist - erik@erikwernquist.com MUSIC BY - Cristian Sandquist - cristiansandquist@mac.com WRITTEN AND NARRATED BY - Carl Sagan - from his book 'Pale Blue Dot' penguinrandomhouse.com/books/159735/pale-blue-dot-by-carl-sagan/, courtesy of Ann Druyan, copyright by Democritus Properties, LLC, with all rights reserved COLOR GRADE BY - Caj Müller/Beckholmen Film - caj@beckholmenfilm.se LIVE ACTION PHOTOGRAPHY BY - Mikael Hall/Vidiotism - mikael@vidiotism.com LIVE ACTION PERFORMANCE BY - Anna Nerman, Camilla Hammarström, Hanna Mellin VOCALIST - Nina Fylkegård - nina@ladystardust.se THANK YOU - Johan Persson, Calle Herdenberg, Micke Lindgren, Satrio J. Studt, Tomas Axelsson, Christian Lundqvist, Micke Lindell, Sigfrid Söderberg, Fredrik Strage, Johan Antoni, Henrik Johansson, Michael Uvnäs, Hanna Mellin

THIS FILM WAS MADE WITH USE OF PHOTOS AND TEXTURES FROM: NASA/JPL, NASA/CICLOPS, NASA/Goddard Space Flight Center Scientific Visualization Studio, ESA, John Van Vliet, Björn Jonsson (and many others, of which I unfortunately do not know the names)

SUBTITLES & TRANSLATIONS PROVIDED BY - Victor Terrón (English, Spanish), Titus Ou (Traditional Chinese), John Walter (French), Shinwoo Jeon (Korean), Yoav Landsman & Ehud Maimon (Hebrew), Miguel Andrade (Brazilian Portuguese), Rik Delaet (Dutch).

[ralfbrinkschulte]

Wanderers - a short film by Erik Wernquist from Erik Wernquist on Vimeo.

For more information and stills gallery, please turn to: erikwernquist.com/wanderers For youtube version, please turn here: youtube.com/watch?v=YH3c1QZzRK4 ----- UPDATE: For anyone interested I have made a clip with a few discarded scenes from this film, which can be seen here: vimeo.com/132183031 ----- Wanderers is a vision of humanity's expansion into the Solar System, based on scientific ideas and concepts of what our future in space might look like, if it ever happens. The locations depicted in the film are digital recreations of actual places in the Solar System, built from real photos and map data where available. Without any apparent story, other than what you may fill in by yourself, the idea of the film is primarily to show a glimpse of the fantastic and beautiful nature that surrounds us on our neighboring worlds - and above all, how it might appear to us if we were there.

As some may notice I have borrowed ideas and concepts from science fiction authors such as Kim Stanley Robinson and Arthur C. Clarke, just to name a few. And visually, I of course owe many tips of my hat to painter Chesley Bonestell - the legendary master of space art.

More directly, with kind permission from Ann Druyan I have also borrowed the voice of astronomer and author Carl Sagan to narrate the film. The audio I used are excerpts from his own reading of his book 'Pale Blue Dot: A Vision of the Human Future in Space' (1994, Random House, penguinrandomhouse.com/books/159735/pale-blue-dot-by-carl-sagan/) - needless to say, a huge inspiration for this film. ----- CREDITS: VISUALS BY - Erik Wernquist - erik@erikwernquist.com MUSIC BY - Cristian Sandquist - cristiansandquist@mac.com WRITTEN AND NARRATED BY - Carl Sagan - from his book 'Pale Blue Dot' penguinrandomhouse.com/books/159735/pale-blue-dot-by-carl-sagan/, courtesy of Ann Druyan, copyright by Democritus Properties, LLC, with all rights reserved COLOR GRADE BY - Caj Müller/Beckholmen Film - caj@beckholmenfilm.se LIVE ACTION PHOTOGRAPHY BY - Mikael Hall/Vidiotism - mikael@vidiotism.com LIVE ACTION PERFORMANCE BY - Anna Nerman, Camilla Hammarström, Hanna Mellin VOCALIST - Nina Fylkegård - nina@ladystardust.se THANK YOU - Johan Persson, Calle Herdenberg, Micke Lindgren, Satrio J. Studt, Tomas Axelsson, Christian Lundqvist, Micke Lindell, Sigfrid Söderberg, Fredrik Strage, Johan Antoni, Henrik Johansson, Michael Uvnäs, Hanna Mellin

THIS FILM WAS MADE WITH USE OF PHOTOS AND TEXTURES FROM: NASA/JPL, NASA/CICLOPS, NASA/Goddard Space Flight Center Scientific Visualization Studio, ESA, John Van Vliet, Björn Jonsson (and many others, of which I unfortunately do not know the names)

SUBTITLES & TRANSLATIONS PROVIDED BY - Victor Terrón (English, Spanish), Titus Ou (Traditional Chinese), John Walter (French), Shinwoo Jeon (Korean), Yoav Landsman & Ehud Maimon (Hebrew), Miguel Andrade (Brazilian Portuguese), Rik Delaet (Dutch).

[kebee-s]

Wanderers - a short film by Erik Wernquist from Erik Wernquist on Vimeo.

For more information and stills gallery, please turn to: erikwernquist.com/wanderers For youtube version, please turn here: youtube.com/watch?v=YH3c1QZzRK4 ----- UPDATE: For anyone interested I have made a clip with a few discarded scenes from this film, which can be seen here: vimeo.com/132183031 ----- Wanderers is a vision of humanity's expansion into the Solar System, based on scientific ideas and concepts of what our future in space might look like, if it ever happens. The locations depicted in the film are digital recreations of actual places in the Solar System, built from real photos and map data where available. Without any apparent story, other than what you may fill in by yourself, the idea of the film is primarily to show a glimpse of the fantastic and beautiful nature that surrounds us on our neighboring worlds - and above all, how it might appear to us if we were there.

As some may notice I have borrowed ideas and concepts from science fiction authors such as Kim Stanley Robinson and Arthur C. Clarke, just to name a few. And visually, I of course owe many tips of my hat to painter Chesley Bonestell - the legendary master of space art.

More directly, with kind permission from Ann Druyan I have also borrowed the voice of astronomer and author Carl Sagan to narrate the film. The audio I used are excerpts from his own reading of his book 'Pale Blue Dot: A Vision of the Human Future in Space' (1994, Random House, penguinrandomhouse.com/books/159735/pale-blue-dot-by-carl-sagan/) - needless to say, a huge inspiration for this film. ----- CREDITS: VISUALS BY - Erik Wernquist - erik@erikwernquist.com MUSIC BY - Cristian Sandquist - cristiansandquist@mac.com WRITTEN AND NARRATED BY - Carl Sagan - from his book 'Pale Blue Dot' penguinrandomhouse.com/books/159735/pale-blue-dot-by-carl-sagan/, courtesy of Ann Druyan, copyright by Democritus Properties, LLC, with all rights reserved COLOR GRADE BY - Caj Müller/Beckholmen Film - caj@beckholmenfilm.se LIVE ACTION PHOTOGRAPHY BY - Mikael Hall/Vidiotism - mikael@vidiotism.com LIVE ACTION PERFORMANCE BY - Anna Nerman, Camilla Hammarström, Hanna Mellin VOCALIST - Nina Fylkegård - nina@ladystardust.se THANK YOU - Johan Persson, Calle Herdenberg, Micke Lindgren, Satrio J. Studt, Tomas Axelsson, Christian Lundqvist, Micke Lindell, Sigfrid Söderberg, Fredrik Strage, Johan Antoni, Henrik Johansson, Michael Uvnäs, Hanna Mellin

THIS FILM WAS MADE WITH USE OF PHOTOS AND TEXTURES FROM: NASA/JPL, NASA/CICLOPS, NASA/Goddard Space Flight Center Scientific Visualization Studio, ESA, John Van Vliet, Björn Jonsson (and many others, of which I unfortunately do not know the names)

SUBTITLES & TRANSLATIONS PROVIDED BY - Victor Terrón (English, Spanish), Titus Ou (Traditional Chinese), John Walter (French), Shinwoo Jeon (Korean), Yoav Landsman & Ehud Maimon (Hebrew), Miguel Andrade (Brazilian Portuguese), Rik Delaet (Dutch).

[daviddgrech]

Wanderers - a short film by Erik Wernquist from Erik Wernquist on Vimeo.

For more information and stills gallery, please turn to: erikwernquist.com/wanderers For youtube version, please turn here: youtube.com/watch?v=YH3c1QZzRK4 ----- UPDATE: For anyone interested I have made a clip with a few discarded scenes from this film, which can be seen here: vimeo.com/132183031 ----- Wanderers is a vision of humanity's expansion into the Solar System, based on scientific ideas and concepts of what our future in space might look like, if it ever happens. The locations depicted in the film are digital recreations of actual places in the Solar System, built from real photos and map data where available. Without any apparent story, other than what you may fill in by yourself, the idea of the film is primarily to show a glimpse of the fantastic and beautiful nature that surrounds us on our neighboring worlds - and above all, how it might appear to us if we were there.

As some may notice I have borrowed ideas and concepts from science fiction authors such as Kim Stanley Robinson and Arthur C. Clarke, just to name a few. And visually, I of course owe many tips of my hat to painter Chesley Bonestell - the legendary master of space art.

More directly, with kind permission from Ann Druyan I have also borrowed the voice of astronomer and author Carl Sagan to narrate the film. The audio I used are excerpts from his own reading of his book 'Pale Blue Dot: A Vision of the Human Future in Space' (1994, Random House, penguinrandomhouse.com/books/159735/pale-blue-dot-by-carl-sagan/) - needless to say, a huge inspiration for this film. ----- CREDITS: VISUALS BY - Erik Wernquist - erik@erikwernquist.com MUSIC BY - Cristian Sandquist - cristiansandquist@mac.com WRITTEN AND NARRATED BY - Carl Sagan - from his book 'Pale Blue Dot' penguinrandomhouse.com/books/159735/pale-blue-dot-by-carl-sagan/, courtesy of Ann Druyan, copyright by Democritus Properties, LLC, with all rights reserved COLOR GRADE BY - Caj Müller/Beckholmen Film - caj@beckholmenfilm.se LIVE ACTION PHOTOGRAPHY BY - Mikael Hall/Vidiotism - mikael@vidiotism.com LIVE ACTION PERFORMANCE BY - Anna Nerman, Camilla Hammarström, Hanna Mellin VOCALIST - Nina Fylkegård - nina@ladystardust.se THANK YOU - Johan Persson, Calle Herdenberg, Micke Lindgren, Satrio J. Studt, Tomas Axelsson, Christian Lundqvist, Micke Lindell, Sigfrid Söderberg, Fredrik Strage, Johan Antoni, Henrik Johansson, Michael Uvnäs, Hanna Mellin

THIS FILM WAS MADE WITH USE OF PHOTOS AND TEXTURES FROM: NASA/JPL, NASA/CICLOPS, NASA/Goddard Space Flight Center Scientific Visualization Studio, ESA, John Van Vliet, Björn Jonsson (and many others, of which I unfortunately do not know the names)

SUBTITLES & TRANSLATIONS PROVIDED BY - Victor Terrón (English, Spanish), Titus Ou (Traditional Chinese), John Walter (French), Shinwoo Jeon (Korean), Yoav Landsman & Ehud Maimon (Hebrew), Miguel Andrade (Brazilian Portuguese), Rik Delaet (Dutch).

[jimmychile]

Wanderers - a short film by Erik Wernquist from Erik Wernquist on Vimeo.

For more information and stills gallery, please turn to: erikwernquist.com/wanderers For youtube version, please turn here: youtube.com/watch?v=YH3c1QZzRK4 ----- UPDATE: For anyone interested I have made a clip with a few discarded scenes from this film, which can be seen here: vimeo.com/132183031 ----- Wanderers is a vision of humanity's expansion into the Solar System, based on scientific ideas and concepts of what our future in space might look like, if it ever happens. The locations depicted in the film are digital recreations of actual places in the Solar System, built from real photos and map data where available. Without any apparent story, other than what you may fill in by yourself, the idea of the film is primarily to show a glimpse of the fantastic and beautiful nature that surrounds us on our neighboring worlds - and above all, how it might appear to us if we were there.

As some may notice I have borrowed ideas and concepts from science fiction authors such as Kim Stanley Robinson and Arthur C. Clarke, just to name a few. And visually, I of course owe many tips of my hat to painter Chesley Bonestell - the legendary master of space art.

More directly, with kind permission from Ann Druyan I have also borrowed the voice of astronomer and author Carl Sagan to narrate the film. The audio I used are excerpts from his own reading of his book 'Pale Blue Dot: A Vision of the Human Future in Space' (1994, Random House, penguinrandomhouse.com/books/159735/pale-blue-dot-by-carl-sagan/) - needless to say, a huge inspiration for this film. ----- CREDITS: VISUALS BY - Erik Wernquist - erik@erikwernquist.com MUSIC BY - Cristian Sandquist - cristiansandquist@mac.com WRITTEN AND NARRATED BY - Carl Sagan - from his book 'Pale Blue Dot' penguinrandomhouse.com/books/159735/pale-blue-dot-by-carl-sagan/, courtesy of Ann Druyan, copyright by Democritus Properties, LLC, with all rights reserved COLOR GRADE BY - Caj Müller/Beckholmen Film - caj@beckholmenfilm.se LIVE ACTION PHOTOGRAPHY BY - Mikael Hall/Vidiotism - mikael@vidiotism.com LIVE ACTION PERFORMANCE BY - Anna Nerman, Camilla Hammarström, Hanna Mellin VOCALIST - Nina Fylkegård - nina@ladystardust.se THANK YOU - Johan Persson, Calle Herdenberg, Micke Lindgren, Satrio J. Studt, Tomas Axelsson, Christian Lundqvist, Micke Lindell, Sigfrid Söderberg, Fredrik Strage, Johan Antoni, Henrik Johansson, Michael Uvnäs, Hanna Mellin

THIS FILM WAS MADE WITH USE OF PHOTOS AND TEXTURES FROM: NASA/JPL, NASA/CICLOPS, NASA/Goddard Space Flight Center Scientific Visualization Studio, ESA, John Van Vliet, Björn Jonsson (and many others, of which I unfortunately do not know the names)

SUBTITLES & TRANSLATIONS PROVIDED BY - Victor Terrón (English, Spanish), Titus Ou (Traditional Chinese), John Walter (French), Shinwoo Jeon (Korean), Yoav Landsman & Ehud Maimon (Hebrew), Miguel Andrade (Brazilian Portuguese), Rik Delaet (Dutch).

[anthyg]

Wanderers - a short film by Erik Wernquist from Erik Wernquist on Vimeo.

For more information and stills gallery, please turn to: erikwernquist.com/wanderers For youtube version, please turn here: youtube.com/watch?v=YH3c1QZzRK4 ----- UPDATE: For anyone interested I have made a clip with a few discarded scenes from this film, which can be seen here: vimeo.com/132183031 ----- Wanderers is a vision of humanity's expansion into the Solar System, based on scientific ideas and concepts of what our future in space might look like, if it ever happens. The locations depicted in the film are digital recreations of actual places in the Solar System, built from real photos and map data where available. Without any apparent story, other than what you may fill in by yourself, the idea of the film is primarily to show a glimpse of the fantastic and beautiful nature that surrounds us on our neighboring worlds - and above all, how it might appear to us if we were there.

As some may notice I have borrowed ideas and concepts from science fiction authors such as Kim Stanley Robinson and Arthur C. Clarke, just to name a few. And visually, I of course owe many tips of my hat to painter Chesley Bonestell - the legendary master of space art.

More directly, with kind permission from Ann Druyan I have also borrowed the voice of astronomer and author Carl Sagan to narrate the film. The audio I used are excerpts from his own reading of his book 'Pale Blue Dot: A Vision of the Human Future in Space' (1994, Random House, penguinrandomhouse.com/books/159735/pale-blue-dot-by-carl-sagan/) - needless to say, a huge inspiration for this film. ----- CREDITS: VISUALS BY - Erik Wernquist - erik@erikwernquist.com MUSIC BY - Cristian Sandquist - cristiansandquist@mac.com WRITTEN AND NARRATED BY - Carl Sagan - from his book 'Pale Blue Dot' penguinrandomhouse.com/books/159735/pale-blue-dot-by-carl-sagan/, courtesy of Ann Druyan, copyright by Democritus Properties, LLC, with all rights reserved COLOR GRADE BY - Caj Müller/Beckholmen Film - caj@beckholmenfilm.se LIVE ACTION PHOTOGRAPHY BY - Mikael Hall/Vidiotism - mikael@vidiotism.com LIVE ACTION PERFORMANCE BY - Anna Nerman, Camilla Hammarström, Hanna Mellin VOCALIST - Nina Fylkegård - nina@ladystardust.se THANK YOU - Johan Persson, Calle Herdenberg, Micke Lindgren, Satrio J. Studt, Tomas Axelsson, Christian Lundqvist, Micke Lindell, Sigfrid Söderberg, Fredrik Strage, Johan Antoni, Henrik Johansson, Michael Uvnäs, Hanna Mellin

THIS FILM WAS MADE WITH USE OF PHOTOS AND TEXTURES FROM: NASA/JPL, NASA/CICLOPS, NASA/Goddard Space Flight Center Scientific Visualization Studio, ESA, John Van Vliet, Björn Jonsson (and many others, of which I unfortunately do not know the names)

SUBTITLES & TRANSLATIONS PROVIDED BY - Victor Terrón (English, Spanish), Titus Ou (Traditional Chinese), John Walter (French), Shinwoo Jeon (Korean), Yoav Landsman & Ehud Maimon (Hebrew), Miguel Andrade (Brazilian Portuguese), Rik Delaet (Dutch).