"Mit dem Silhouettenfilm 'Die Abenteuer des Prinzen Achmed' schuf Lotte Reiniger (1899 – 1981) den ersten langen Animationsfilm der Filmgeschichte und entwickelte Technik sowie Ästhetik dieses Genres bereits in den 20er Jahren zur künstlerischen Perfektion. Ihr Stil knüpft an die chinesischen Schattenspiele an, die sie durch die Möglichkeiten des Films erweiterte. Zu diesem an sich stummen Film (es gibt einige Zwischentitel) komponierte Wolfgang Zeller eine Tonspur für Orchester."
"We first got the chance to ascend into Nosaj Thing's sonic dreamworld at our The Creators Project: New York 2011, where he performed alongside some fittingly fantastical installations like Zigelbaum + Coelho's Six–Forty by Four–Eighty and Team Dis–Kinect's motion–mimicking puppet. Engaged in a subtle dance with his MPD32, Nosaj wove together a pounding, wistful set before projected visuals. As surreal as that live experience was, its visual component is nothing compared to what technology artist Daito Manabe has accomplished for Nosaj Thing's 'Eclipse/Blue.'
With support from The Creators Project, and collaborating with Perfume choreographer MIKIKO, Manabe created a dynamic virtual environment to serve as the backdrop for two dancers whose movements across the stage are amplified by the graphics behind them, making each action feel larger and more emotive."
(The Creators Project)
"50 Word's for Snow found the elusive Kate Bush at her most stark and stripped–down. The album was the aural equivalent of a single line of footsteps in a snowy pasture. It's no wonder then that Bush, who has always been skilled at pairing her music with their equivalent visuals, turned away from her trademark cinematics for the video of her song, 'Lake Tahoe.'
In the album version of 'Lake Tahoe,' only quiet strings and a piano accompany Bush as she weaves a tale of an old dog dreaming of his owner. And while the full song explains the animal's true situation, Bush – who directed the video herself – has trimmed it down into a more ambiguous excerpt here.
Her use of shadow puppetry matches song's dreamlike quality. The stark contrast between the black figures and the white world makes each set piece seem mystical. The dog runs through phantasmagorical lands filled with spooky woods, looking for his owner. It's beautiful in its simplicity – emphasizing small subtle movements over big extravagance. The elegant design of the puppets mixes fantasy elements like the moving trees with realistic pieces such as the soft sway of the woman's hair."
(Dan Raby, 24 January 2012, All Songs Considered Blog, National Public Radio)