The Henry Ford’s Innovation Nation Season 10 Episode 9 Wrist Cooling A/C Airs January 20 2024 on CBS
Get ready for a fascinating dive into the world of innovation with the upcoming episode of “The Henry Ford’s Innovation Nation.” Set to air on CBS at 7:30 Am on Saturday, January 20, 2024, Season 10 Episode 9, titled “Wrist Cooling A/C,” promises a showcase of cutting-edge inventions and groundbreaking ideas.
In this episode, viewers can look forward to discovering the wrist air conditioner—a revolutionary concept that blends technology with practicality, offering a unique cooling solution. The exploration doesn’t stop there; the show delves into the intriguing realm of spokespeople that aren’t people, revealing the technological advancements in this innovative field.
The disruptive tuner for singers takes center stage, providing a glimpse into the evolving landscape of music technology. Additionally, the episode unfolds the artistic brilliance of Lillian Schwartz, showcasing her innovative contributions to the world of art.
Tune in for an engaging and educational experience as “The Henry Ford’s Innovation Nation...
In this episode, viewers can look forward to discovering the wrist air conditioner—a revolutionary concept that blends technology with practicality, offering a unique cooling solution. The exploration doesn’t stop there; the show delves into the intriguing realm of spokespeople that aren’t people, revealing the technological advancements in this innovative field.
The disruptive tuner for singers takes center stage, providing a glimpse into the evolving landscape of music technology. Additionally, the episode unfolds the artistic brilliance of Lillian Schwartz, showcasing her innovative contributions to the world of art.
Tune in for an engaging and educational experience as “The Henry Ford’s Innovation Nation...
- 1/13/2024
- by Jules Byrd
- TV Everyday
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSSian Heder's Coda took home the Best Picture award at the 94th Academy Awards, Ryusuke Hamaguchi's Drive My Car took Best International Feature, and Jane Campion won Best Director for The Power of the Dog. Find more of this year's Oscars winners here. We're saddened by the loss of Japanese filmmaker Shinji Aoyama, who recently died at the age of 57. Most revered for his 2000 film Eureka, about a trio who embark on a road trip after surviving a bus hijacking, Aoyama continued his humanist exploration of violence, family, and generation gaps in films like Desert Moon (2001) and Sad Vacation (2007), the loose sequel to Eureka. He was also a prolific novelist and critic, with his novelization of Eureka awarded the Yukio Mishima prize in 2001. Il Cinema Ritrovato has announced the programs of this year's festivities,...
- 3/30/2022
- MUBI
Encanto, Flee and Luca are also in contention for the animation awards.
Disney’s Raya And The Last Dragon and Encanto lead the field of nominees for this year’s Annie Awards, announced on Monday by international animated film society Asifa-Hollywood.
Besides the two Disney titles, other nominees for the group’s best animated feature award are Pixar’s Luca, Illumination’s Sing 2 and Sony Pictures Animation and Netflix’s The Mitchells Vs The Machines.
Nominated for the best independent animated feature Annie are Japanese anime epic Belle and European awards contenders Flee and The Summit Of The Gods, as...
Disney’s Raya And The Last Dragon and Encanto lead the field of nominees for this year’s Annie Awards, announced on Monday by international animated film society Asifa-Hollywood.
Besides the two Disney titles, other nominees for the group’s best animated feature award are Pixar’s Luca, Illumination’s Sing 2 and Sony Pictures Animation and Netflix’s The Mitchells Vs The Machines.
Nominated for the best independent animated feature Annie are Japanese anime epic Belle and European awards contenders Flee and The Summit Of The Gods, as...
- 12/21/2021
- by John Hazelton
- ScreenDaily
Disney’s “Raya and the Last Dragon,” the studio’s first Southeast Asian action-adventure, led Asifa-Hollywood’s 49th Annie Awards with 10 nominations, including best animated feature. Disney’s Colombian-set musical “Encanto,” followed with nine nods, while Pixar’s Italian-set “Luca” tied for eight with Sony Animation/Netflix’s innovative, 2D-inspired “The Mitchells vs. The Machines.” This year’s ceremony is scheduled to return live on Saturday, February 26, 2022 at UCLA’s Royce Hall.
The best feature noms went to “Raya,” (from “Big Hero Six” Oscar-winning director Don Hall), “Encanto”, “Luca,” “The Mitchells” (from “Spider-Verse” Oscar-winning producers Phil Lord and Chris Miller), and Illumination’s “Sing 2.” The competitive studio race for best feature could go Disney’s way or “The Mitchells'” (winner of the NYFCC animated feature award).
The race for best independent feature, meanwhile, was led by GKids’ “Belle,” the metaverse “Beauty and the Beast”-inspired musical from director Mamoru Hosoda...
The best feature noms went to “Raya,” (from “Big Hero Six” Oscar-winning director Don Hall), “Encanto”, “Luca,” “The Mitchells” (from “Spider-Verse” Oscar-winning producers Phil Lord and Chris Miller), and Illumination’s “Sing 2.” The competitive studio race for best feature could go Disney’s way or “The Mitchells'” (winner of the NYFCC animated feature award).
The race for best independent feature, meanwhile, was led by GKids’ “Belle,” the metaverse “Beauty and the Beast”-inspired musical from director Mamoru Hosoda...
- 12/21/2021
- by Bill Desowitz
- Indiewire
Netflix’s investment in animation has paid off in a big way, as the streamer picked up a whopping 52 nominations at the 49th Annie Awards. Following behind is Disney, which received 29 bids between its film and TV projects.
Taking place on Feb. 26, 2022 at UCLA’s Royce Hall and presented by the Los Angeles branch of the International Animated Film Association, the Annie Awards recognize excellence in cinema and television.
Netflix picked up nine nominations for “Arcane,” its series based on Riot Games’ online multiplayer game “League of Legends.” The hit film from Sony Pictures Animation “The Mitchells vs. The Machines” earned eight nods, and Netflix’s own limited series “Maya and the Three,” directed by Jorge Gutierrez, has seven.
While Disney lagged behind Netflix for total nominations, the studio’s “Raya and the Last Dragon” led all content with 10 nominations, followed by its studio sibling “Encanto,” which picked up nine.
Taking place on Feb. 26, 2022 at UCLA’s Royce Hall and presented by the Los Angeles branch of the International Animated Film Association, the Annie Awards recognize excellence in cinema and television.
Netflix picked up nine nominations for “Arcane,” its series based on Riot Games’ online multiplayer game “League of Legends.” The hit film from Sony Pictures Animation “The Mitchells vs. The Machines” earned eight nods, and Netflix’s own limited series “Maya and the Three,” directed by Jorge Gutierrez, has seven.
While Disney lagged behind Netflix for total nominations, the studio’s “Raya and the Last Dragon” led all content with 10 nominations, followed by its studio sibling “Encanto,” which picked up nine.
- 12/21/2021
- by Terry Flores
- Variety Film + TV
NEWSLillian SchwartzMartin Scorsese's much-anticipated (and long-in-the-making) 16th-century drama set in Japan, Silence, finally has a release date this year.Director Herschell Gordon Lewis, the so-called "godfather of gore," has died at the age of 87.In New York, the Magenta Plains gallery has opened an exhibition dedicated to early computer art pioneer Lillian Schwartz, whose films are truly delightful.You are no doubt familiar with the video essays of Cristina Álvarez López and Adrian Martin, in no small part due to their work here on the Notebook. Next week can hear the two speak about their critical practice at London's Essay Film Festival.News, yes, but also recommended viewing: the third edition of the free, streaming avant-garde program Kinet is now available, including two wonderful short films by New York filmmaker Gina Telaroli.Recommended VIEWINGTruly the Golden Age of Hollywood: A 1925 tour of MGM studios at its height.One of cinema's...
- 9/28/2016
- MUBI
Let Your Light ShineIt took over a century, but 3D is finally generating some cultural goodwill. With two major retrospectives of 3D filmmaking taking place next month—one at the International Short Film Festival Oberhausen (May 1-5), focusing on a broad range of stereoscopic experimentation throughout avant-garde history, and the other, BAMcinématek’s “3D in the 21st century” series (May 1-17), looking at both experimental and mainstream manifestations from the last fifteen years—the tenacious ‘here again/dead again’ format is apparently beginning to transcend its stigma as a box office gimmick; its capacity for new formal breakthroughs now more than ever met with inklings of trust instead of contempt. Pernicious connotations of commerce, power, and excess haven't been exorcised from 3D so much as they've been fused into its very infrastructure, opening up new opportunities for radical abstractions, poetics, disruptions, and historical inquiries to subvert grand institutions and languages from within the form itself.
- 5/1/2015
- by Blake Williams
- MUBI
The Ann Arbor Film Festival celebrates its epic 53rd annual edition on March 24-29 with a colossal selection of experimental short films and features.
Feature film highlights include the documentary Speculation Nation by regular collaborators Bill Brown and Sabine Gruffat, which examines the recent Spanish housing crisis; a new ethnographic doc by Ben Russell, Greetings to the Ancestors, which plunges deep into the culture of South Africa; and Jenni Olson’s grand California study The Royal Road.
Short film highlights include the much anticipated new film by Jennifer Reeder, Blood Below the Skin, a narrative following a week in the dramatic and romantic lives of three teenage girls; a new music video by Mike Olenick called Beautiful Things with music by The Wet Things; new animations by Don Hertzfeldt, World of Tomorrow, and Lewis Klahr, Mars Garden; plus new experimental work by Vanessa Renwick, Peggy Ahwesh and Zachary Epcar.
Special...
Feature film highlights include the documentary Speculation Nation by regular collaborators Bill Brown and Sabine Gruffat, which examines the recent Spanish housing crisis; a new ethnographic doc by Ben Russell, Greetings to the Ancestors, which plunges deep into the culture of South Africa; and Jenni Olson’s grand California study The Royal Road.
Short film highlights include the much anticipated new film by Jennifer Reeder, Blood Below the Skin, a narrative following a week in the dramatic and romantic lives of three teenage girls; a new music video by Mike Olenick called Beautiful Things with music by The Wet Things; new animations by Don Hertzfeldt, World of Tomorrow, and Lewis Klahr, Mars Garden; plus new experimental work by Vanessa Renwick, Peggy Ahwesh and Zachary Epcar.
Special...
- 3/24/2015
- by Mike Everleth
- Underground Film Journal
Bombardment!
Bombardment: textures. If you, like many, have been waiting so many years for Soviet/Russian master Aleksei German (My Friend Ivan Lapshin; Khrustalyov, My Car!) to finish what, upon the director's passing last year, has ended up being his final film (with finishing touches by his wife and co-writer Svetlana Karmalita and his son Aleksei German Jr.), you will have to embrace muck. You will have to swim in shit, slather yourself with grime, dirt, and water, enrobe yourself in filthy fog, feel roughened leather, splintered wood, caked and hardened cloth, rusted and creaky iron armor; you will have to embrace the damp, dank, dirty opus of cinema that is Hard to Be a God. It is cinematic texture taken to an extreme.
Based on a 1964 novel by the Strugatsky brothers (literary sources for Tarkovsky's Stalker and Aleksandr Sokurov's Day of Eclipse, among other adaptations), its barely sci-fi...
Bombardment: textures. If you, like many, have been waiting so many years for Soviet/Russian master Aleksei German (My Friend Ivan Lapshin; Khrustalyov, My Car!) to finish what, upon the director's passing last year, has ended up being his final film (with finishing touches by his wife and co-writer Svetlana Karmalita and his son Aleksei German Jr.), you will have to embrace muck. You will have to swim in shit, slather yourself with grime, dirt, and water, enrobe yourself in filthy fog, feel roughened leather, splintered wood, caked and hardened cloth, rusted and creaky iron armor; you will have to embrace the damp, dank, dirty opus of cinema that is Hard to Be a God. It is cinematic texture taken to an extreme.
Based on a 1964 novel by the Strugatsky brothers (literary sources for Tarkovsky's Stalker and Aleksandr Sokurov's Day of Eclipse, among other adaptations), its barely sci-fi...
- 1/30/2014
- by Daniel Kasman
- MUBI
Looking back at 2012 on what films moved and impressed us, it is clear that watching old films is a crucial part of making new films meaningful. Thus, the annual tradition of our end of year poll, which calls upon our writers to pick both a new and an old film: they were challenged to choose a new film they saw in 2012—in theaters or at a festival—and creatively pair it with an old film they also saw in 2012 to create a unique double feature.
All the contributors were asked to write a paragraph explaining their 2012 fantasy double feature. What's more, each writer was given the option to list more pairings, with or without explanation, as further imaginative film programming we'd be lucky to catch in that perfect world we know doesn't exist but can keep dreaming of every time we go to the movies.
How would you program some...
All the contributors were asked to write a paragraph explaining their 2012 fantasy double feature. What's more, each writer was given the option to list more pairings, with or without explanation, as further imaginative film programming we'd be lucky to catch in that perfect world we know doesn't exist but can keep dreaming of every time we go to the movies.
How would you program some...
- 1/9/2013
- by Daniel Kasman
- MUBI
Above: two images from 1971's UFOs.
Lillian F. Schwartz is having quite a year: a restored version of her 1971 film UFOs was programmed at the Ann Arbor Film Festival and later in Tiff's Wavelengths program; the New Museum in New York included that film and another in its "Ghosts in the Machine" exhibition; and the Museum of Modern Art recently had a discussion and screening with the filmmaker, showing several of her shorts from her time at Bell Laboratories, as well as a new digital work from 2012. Several of these films are by their nature—that is, by the particular choices of color and their compositional placement—3D if one has 3D glasses. Watching them in 3D is a reminder, just as is Ken Jacobs' recent work, that the vast majority of commercial filmmakers "working in 3D" simply don't understand what it is that's dynamic, invigorating and exploratory about compositions in depth.
Lillian F. Schwartz is having quite a year: a restored version of her 1971 film UFOs was programmed at the Ann Arbor Film Festival and later in Tiff's Wavelengths program; the New Museum in New York included that film and another in its "Ghosts in the Machine" exhibition; and the Museum of Modern Art recently had a discussion and screening with the filmmaker, showing several of her shorts from her time at Bell Laboratories, as well as a new digital work from 2012. Several of these films are by their nature—that is, by the particular choices of color and their compositional placement—3D if one has 3D glasses. Watching them in 3D is a reminder, just as is Ken Jacobs' recent work, that the vast majority of commercial filmmakers "working in 3D" simply don't understand what it is that's dynamic, invigorating and exploratory about compositions in depth.
- 12/14/2012
- by Notebook
- MUBI
September is here again, and it's time to delve into the cinematic bounty of the Wavelengths section of the Toronto International Film Festival, that rambunctious and idiosyncratic corner of the Reitman Machine largely cordoned off from commercial concerns and set aside for lovely and sometimes difficult film art. Despite the ever-changing profile of Tiff, stalwart programmer Andréa Picard has [cue needle-scratching-record sound] What? Yes, last year at this time, the avant-garde community thought we were seeing Ms. Picard leaving this position behind. Fortunately for us all, Tiff won her back.
And this is where things get interesting. Starting with this 2012 edition of the festival, the Wavelengths section is a much more broadly based, festival-wide category. In essence, it now subsumes the old Visions designation, which was Tiff’s home for formally challenging, feature-length arthouse fare. This merger, which may seem like a bit of a shotgun wedding to some, does in fact make sense.
And this is where things get interesting. Starting with this 2012 edition of the festival, the Wavelengths section is a much more broadly based, festival-wide category. In essence, it now subsumes the old Visions designation, which was Tiff’s home for formally challenging, feature-length arthouse fare. This merger, which may seem like a bit of a shotgun wedding to some, does in fact make sense.
- 9/11/2012
- MUBI
Above: Ernie Gehr's Auto-Collider Xv.
The vast bulk of Tiff's 2012 has been announced and listed here, below. We'll be updating the lineup with the previous films announced, as well as updating links to specific films for more information on them in the coming days. Of particular note is that the Wavelengths and Visions programs have been combined to create what is undoubtedly the most interesting section of the festival. Stay tuned, too, for our own on the ground coverage of Tiff.
Galas
A Royal Affair (Nikolai Arcel, Demark/Sweden/Czech Republic/Germany)
Argo (Ben Affleck, USA)
The Company You Keep (Robert Redford, USA)
Dangerous Liaisons (Hur Jin-ho, China)
Emperor (Peter Webber, Japan/USA)
English Vinglish (Gauri Shinde, India)
Free Angela & All Political Prisoners (Shola Lynch)
Great Expectations (Mike Newell, UK)
Hyde Park on Hudson (Roger Michell, UK)
Inescapable (Ruba Nadda, Canada)
Jayne Mansfield's Car (Billy Bob Thorton, USA/Russia)
Looper (Rian Johnson,...
The vast bulk of Tiff's 2012 has been announced and listed here, below. We'll be updating the lineup with the previous films announced, as well as updating links to specific films for more information on them in the coming days. Of particular note is that the Wavelengths and Visions programs have been combined to create what is undoubtedly the most interesting section of the festival. Stay tuned, too, for our own on the ground coverage of Tiff.
Galas
A Royal Affair (Nikolai Arcel, Demark/Sweden/Czech Republic/Germany)
Argo (Ben Affleck, USA)
The Company You Keep (Robert Redford, USA)
Dangerous Liaisons (Hur Jin-ho, China)
Emperor (Peter Webber, Japan/USA)
English Vinglish (Gauri Shinde, India)
Free Angela & All Political Prisoners (Shola Lynch)
Great Expectations (Mike Newell, UK)
Hyde Park on Hudson (Roger Michell, UK)
Inescapable (Ruba Nadda, Canada)
Jayne Mansfield's Car (Billy Bob Thorton, USA/Russia)
Looper (Rian Johnson,...
- 8/22/2012
- MUBI
By merging the former Visions into the Wavelengths section, Cameron Bailey has essentially made a new incontournable programme. Headed by Andréa Picard, the section which at a time was populated by medium to short run times now includes some of the bigger names in innovative feature film filmmaking who have no qualms about bending the medium. This year the sections includes long, medium and short length works from the likes of Ben Rivers, Athina Rachel Tsangari, Carlos Reygadas (pic of his controversial Post Tenebras Lux above), Wang Bing, Mati Diop (actress from Claire Denis and Antonio Campos films) and our very own writer Blake Williams who makes it two for two at Tiff with Many a Swan – he previously had Coorow-Latham Road programmed last year. Here’s the complete A to Z listing and well-worth reading descriptions.
Pairings
The Capsule Athina Rachel Tsangari, Greece, 37’ A bevy of gorgeous Gothic...
Pairings
The Capsule Athina Rachel Tsangari, Greece, 37’ A bevy of gorgeous Gothic...
- 8/14/2012
- by Eric Lavallee
- IONCINEMA.com
It’s the 50th anniversary of the Ann Arbor Film Festival and they’re preparing an all-out blowout on March 27 to April 1 to celebrate! The fest is crammed to the gills with the latest and greatest in experimental and avant-garde film, in addition to a celebration of classic work from Ann Arbors past.
Filmmaker Bruce Baillie was there at the first Aaff — and numerous times since. He’s back this year with a major retrospective of his entire career that spans three separate programs. Baillie, who’ll be in attendance of course, will present a brand-new restored version of his epic pseudo-Western Quick Billy, plus screenings of his classic short movies such as Castro Street, Yellow Horse, Quixote, To Parsifal and more.
There’s also a program dedicated to the films of the late Robert Nelson, including Bleu Shut and Special Warning, as well as sprinklings of underground classics throughout...
Filmmaker Bruce Baillie was there at the first Aaff — and numerous times since. He’s back this year with a major retrospective of his entire career that spans three separate programs. Baillie, who’ll be in attendance of course, will present a brand-new restored version of his epic pseudo-Western Quick Billy, plus screenings of his classic short movies such as Castro Street, Yellow Horse, Quixote, To Parsifal and more.
There’s also a program dedicated to the films of the late Robert Nelson, including Bleu Shut and Special Warning, as well as sprinklings of underground classics throughout...
- 3/7/2012
- by Mike Everleth
- Underground Film Journal
Colors flow and glide across the screen in Lillian Schwartz‘s classic experimental short film Papillons, produced in 1973. Simultaneously, the film is both of its decade and very timeless, following in the traditional experimental animation tradition, but using the then-new process of using computers to create art.
The official description of Papillons indicates that it is a visual representation of “mathematical functions,” but the bold, chunky, swirling colors also feel to be a holdover from the psychedelic era that had just died down by the time of the film’s production. Plus, there also appears to be some continuity with the type of fluid and repetitive animation in the tradition of Robert Breer, even though Schwartz was bringing that style to a new, digital medium.
Schwartz created her art films while working in residence at At&T’s Bell Laboratories where she helped create the image-generating programming language Explor, an...
The official description of Papillons indicates that it is a visual representation of “mathematical functions,” but the bold, chunky, swirling colors also feel to be a holdover from the psychedelic era that had just died down by the time of the film’s production. Plus, there also appears to be some continuity with the type of fluid and repetitive animation in the tradition of Robert Breer, even though Schwartz was bringing that style to a new, digital medium.
Schwartz created her art films while working in residence at At&T’s Bell Laboratories where she helped create the image-generating programming language Explor, an...
- 2/6/2012
- by Mike Everleth
- Underground Film Journal
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