The song is featured on Josh Ritter’s new EP, “Bringing In The Darlings,” available on 2/21/2012.
 

Putting our feelings and emotions into words is often a good thing. For example, verbalizing unpleasant negative emotions may reduce the strength of the emotional response and thereby contribute to psychological well-being.

We should perhaps be more cautious when it comes to putting more subtle, “intuitive” feelings into words. A study by Ayumi Yamada published in Journal of Experimental Social Psychology in 2009 showed that when people are asked to verbalize reasons for why they like or dislike a piece of art this may change their subjective preferences.

The experimental design was quite simple. Each participant was shown two paintings by the artist Piet Mondrian. Some participants were then asked to choose the one they liked the most, and some were asked to choose the one they disliked the most. One of these paintings (a) (“Woods near Oele”) was representational/figurative, and the other (b) (“New York City”) was abstract/non-figurative.

There was only one catch: Before choosing a painting, participants in a “verbalization” condition had to describe the reasons for why they either liked or disliked each of the two paintings. The other participants were not asked to provide any reasons.

Read more here.
 

Awesome. Now you can play along with the characters and double your pleasure. You can print these out here.
 

 
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Yi explains that the opening sentence about lifting up a coffee cup off the saucer and the ending of the song about autumn leaves and fragmented pieces became her visual ideas. She goes on to say, “My painting is meant to look like a sepia-toned old photograph to capture the essence of this story.”
 


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Check out Korok Chatterjee’s visualization of an excerpt from David Brooks’ 2011 book “The Social Animal.” It is a wonderful way to communicate Brooks’ musings on the unconscious, or as Carl Jung would put it, “the shadow aspect.”

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Little had just discovered The Saints, a 2007 sound-and-video installation about the 1966 World Cup battle between West Germany and England. A video played footage of a lone English soccer player running around while the audio put the listener in the middle of the action. “It was really primal, in the way that sports becomes this ritualistic, political event,” says Little. There was only one microphone on the pitch at the actual game, so Pfeiffer outsourced the roar of the crowd to the Philippines, filling the actors with Red Bull and firing them up with video of Filipino boxer Manny Pacquiao. He then had them chant, “We won the war.”

Opening February 19, “The Sports Show” hosts the U.S. premiere of The Saints, along with other photo and video works that explore the transformation of sports from leisure activity to mass spectacle. Standard action shots à la Sports Illustrated don’t make the cut here, leaving room for Richard Avedon’s 1963 photo of a stoic Lew Alcindor (Kareem Abdul-Jabbar) on a New York playground and Kota Ezawa’s 2008 digital animation of a brawl at a Pistons-Pacers game that ended with Ron Artest fighting members of the crowd. The show also features works by Diane Arbus, Andy Warhol, Wolfgang Tillmans, Martin Parr, and Stanley Kubrick.

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T.MONK’S ADVICE (1960)

JUST BECAUSE YOU’RE NOT A DRUMMER, DOESN’T MEAN YOU DON’T HAVE TO KEEP TIME.

PAT YOUR FOOT & SING THE MELODY IN YOUR HEAD, WHEN YOU PLAY.

STOP PLAYING ALL THOSE WEIRD NOTES (THAT BULLSHIT), PLAY THE MELODY!

MAKE THE DRUMMER SOUND GOOD.

DISCRIMINATION IS IMPORTANT.

YOU’VE GOT TO DIG IT TO DIG IT, YOU DIG?

ALL REET!

ALWAYS KNOW… (MONK)

IT MUST BE ALWAYS NIGHT, OTHERWISE THEY WOULDN’T NEED THE LIGHTS.

LET’S LIFT THE BAND STAND!!

I WANT TO AVOID THE HECKLERS.

DON’T PLAY THE PIANO PART, I’M PLAYING THAT. DON’T LISTEN TO ME. I’M SUPPOSED TO BE ACCOMPANYING YOU!

THE INSIDE OF THE TUNE (THE BRIDGE) IS THE PART THAT MAKES THE OUTSIDE SOUND GOOD.

DON’T PLAY EVERYTHING (OR EVERY TIME); LET SOME THINGS GO BY. SOME MUSIC JUST IMAGINED. WHAT YOU DON’T PLAY CAN BE MORE IMPORTANT THAT WHAT YOU DO.

ALWAYS LEAVE THEM WANTING MORE.

A NOTE CAN BE SMALL AS A PIN OR AS BIG AS THE WORLD, IT DEPENDS ON YOUR IMAGINATION.

STAY IN SHAPE! SOMETIMES A MUSICIAN WAITS FOR A GIG, & WHEN IT COMES, HE’S OUT OF SHAPE & CAN’T MAKE IT.

WHEN YOU’RE SWINGING, SWING SOME MORE!

(WHAT SHOULD WE WEAR TONIGHT? SHARP AS POSSIBLE!)

DON’T SOUND ANYBODY FOR A GIG, JUST BE ON THE SCENE. THESE PIECES WERE WRITTEN SO AS TO HAVE SOMETHING TO PLAY, & TO GET CATS INTERESTED ENOUGH TO COME TO REHEARSAL.

YOU’VE GOT IT! IF YOU DON’T WANT TO PLAY, TELL A JOKE OR DANCE, BUT IN ANY CASE, YOU GOT IT! (TO A DRUMMER WHO DIDN’T WANT TO SOLO).

WHATEVER YOU THINK CAN’T BE DONE, SOMEBODY WILL COME ALONG & DO IT. A GENIUS IS THE ONE MOST LIKE HIMSELF.

THEY TRIED TO GET ME TO HATE WHITE PEOPLE, BUT SOMEONE WOULD ALWAYS COME ALONG & SPOIL IT.

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On his site, Sutton writes, “I’ve always been excited by unusual ways of lighting things, so it seemed like an exciting idea to make the subject of the film the only light source. I was really drawn to the idea of a lone character made of light surfing through darkness.”

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