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08 APRIL 2013

The Invisible Inflatable Airbag Bicycle Helmet by Hövding

"Fredrik Gertten profiles two idealistic young female entrepreneurs who created a revolutionary 21st–century design object everyone told them would be impossible to fashion."

(Focus Forward Films, 2012)

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2005 • airbag • Anna Haupt • auto inflatable • bicycle • bicycle helmet • bikebusiness womencollisioncrashcrash testcrashworthinessdesign innovationdesign studentsentrepreneurentrepreneurship • Focus Forward Films • Fredrik Gertten • GE Focus Forward • helmethighway safety • Hovding • industrial design • inflatable airbag bike helmet • invention • invisible bicycle helmet • Lund UniversityMasters studentsproduct designproduct designerprotectionprototyperoad safetysafetysafety by designSwedishtechnical innovation • Terese Alstin • The Swedish Film Institute • WG Film • women designerswomen in art and design

CONTRIBUTOR

Simon Perkins
12 MARCH 2012

Wild Strawberries: expressionistic and Freudian dream sequences

"There are other Expressionist and certainly Freudian dream sequences in the picture, almost always with the old man appearing in them as his present self. And some of these, largely because so many have badly copied, now look a little self–conscious– arty even. But the film's ability to engage the emotions makes it notable for more than just technique.

One of the prime reasons is what can only be described as the transcendent performance of Victor Sjostrom as Professor Borg. Sjostrom was the great Swedish silent–era director, who died aged 80, not long after the film was completed and whose The Phantom Carriage had so influenced Bergman. It was he who made the final scene one of the most serene of all Bergman's endings. 'Sjostrom's face shone', said the director. 'It emanated light – a reflection of a different reality, hitherto absent. His whole appearance was soft and gentle, his glance joyful and tender. It was like a miracle'.

Later, Bergman admitted that the character of Borg was an attempt to justify himself to his own parents, but that Sjostrom had taken his text, made it his own and invested it with Sjostrom's often painful experiences. It is still, however, chiefly concerned with forgiveness between parents and children and the lost possibilities of youth."

(Derek Malcolm, 10 June 1999)

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1957 • carriage • clockcoffincorpsedeathdreamdream sequenceexpressionism • expressionist • expressionisticfilmfilm-maker • forgiveness • Freudian • hearse • in the mindIngmar Bergman • lamppost • lucid dreaming • Lund • medical scientist • mysteriousnightmareold manpainful experiencesphantompsychology • redemption • silent-era • somnambulistStockholmSwedishSwedish filmmaker • Victor Sjostrom • visual metaphorvisual spectaclewheelWild Strawberries (1957)

CONTRIBUTOR

Simon Perkins
25 FEBRUARY 2011

Wild Strawberries: falling backwards through memories

Ingmar "Bergman's restless mind wouldn't even leave him to rest during a brief hospital stay, which is where he wrote the script for one of his earliest forays into the nature of age, memory and self–reflection. The core of the film had come to him the previous year while driving through his old hometown of Uppsala, past his grandmother's house. His fertile imagination wondered how it might be if he could open the door and step back into his own childhood, and from this kernel grew Wild Strawberries. In Swedish the title of Smultronstället has deeper meaning than just referring to a wild strawberry patch, it has a colloquial sense of a place invested with personal or sentimental value, often undervalued until it returns to memory in a nostalgic fashion. Which is precisely what the lead character of Isak Borg experiences throughout the film, falling backwards through his memories, attempting to make sense of his life in his final years. It's not an unusual thing for a Bergman film to be filled with casual slips between reality and dreams/memories, or to be populated with characters whose role is to aid our protagonist on his/her internal quest, but the lead character is not what we might envision in Bergman's work. Isak Borg is not a cruel man, but his self–centred cynicism and rampant egotism set him apart from the majority of other Bergman leads. But he needs to be such a vaguely unlikable character for the audience to experience the full impact of his self–realisation, dragged through a series of memories and forced to confront his continuing failures and inadequacies. A loveable, upright character would not have been able to supply so much powerful redemption in the final reel."

(Craig Andrews, Media Resource Centre)

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195735mmacross timechildhoodchronological timecircular narrative structuredreamfilmimaginationin the mindIngmar Bergmaninternal quest • Iris Cinema • Lund Universitymemory • Mercury Cinema • nostalgiapastpersonalself-realisationself-reflection • Smultronstallet • SwedishSwedish filmmaker • Uppsala • Wild Strawberries (1957)

CONTRIBUTOR

Simon Perkins
28 NOVEMBER 2009

The Art Bin: pioneering Swedish Internet magazine

"The Art Bin Magazine was one of the first cultural magazines on the World Wide Web in 1995. A few years back, however, it was put on ice, due to my, the editor's, bad health. Ironically, the last issue published was a special issue on health."

(The Art Bin Magazine)

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1995art • Art Bin Magazine • culturedigital pioneersinnovationInternetmagazinepioneering • Slowfox • SwedenSwedishtechnologyweb

CONTRIBUTOR

Simon Perkins
07 MARCH 2009

Spotify: online music jukebox forced to restrict playlists

"Spotify has come to the attention of those forward–thinking folks the work in record publishing, and has now been forced to restrict some of their playlists, and indeed remove many tracks altogether.

Basically, Spotify is a revolutionary web–based streaming service with an awesome collection of tunes and an excellent interface to create and share playlists.

Of course, it's just the sort of thing that makes record companies sweat. Despite the fact that there's no way to download or own any tracks on Spotify, this seems a concept too far–streaming and sharing music for discovery and enjoyment.

In a statement released last week, the Luxembourg company that owns Spotify said that it is removing songs and adding restrictions acording to country. This is because licensing varies from country to country, so something that we can play in the UK for example, may not be legal to broadcast on a playlist you share with someone from Sweden."
(Linsey Fryatt, 02 February 2009)

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CONTRIBUTOR

Simon Perkins
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