As you might have noticed, we have had a wee bit of a redesign here at Lost in the Cloud. But how you would have noticed, I am not sure, since any visits to this blog in the last year or two will have proven generally underwhelming (even more underwhelming than when we post more often). Thanks to Greg’s posts John Stump, composer of Faerie’s Aire and Death Waltz and Moby Books Illustrated Classic Editions (both published in 2010), we still receive between 100 and 200 views on any given day. But those views are the result of a couple of brilliant niche subjects and not the steady traffic that results from consistent and thoughtful blogging, the initial challenge we set for ourselves here at LITC.
Granted, Greg and I are quite busy with relationships, our respective church ministries and life in general, but this is my formal recommitment to Lost in the Cloud and the first order of business was the redesign. It seems like the last design update was only a few months ago, but looking back at my records I realised that the blog hasn’t had any design changes since September 2011, which, in graphic designer terms, is ancient.
I’ve always aimed to make the aesthetic of the blog efficient, playful and thoughtful. Those values played a significant part in the inspiration for my original ‘yod cloud’ design back in 2004. Since those initial doodles I have employed the wee cloud in a large number of designs, including this painting with the full Tetragrammaton, the Hebrew name of God (יהוה or YHWH) which was commissioned for a church in 2006:
Later on in 2006 I was part of a mix CD club with Greg and some friends and for my round I decided to make a mix that was a playful reflection on the mythical history presented in the Christian Bible called Die Geschichte (The Recapitulation). This was when I discovered the versatility of the yod cloud design:
The playfulness of the design is made quite obvious in these illustrations and it was this yod cloud in the Transfiguration that most captured my imagination. I began to use it obsessively. I even designed a book stamp featuring it:
In 2007 I devised and led an art project made up of a group of university friends that formed a small orchestra and theatre/dance group and performed a theatrical and orchestral version of Sufjan Stevens’ ‘The Transfiguration’ at Biola University in La Mirada, California. The programmes featured the illustration from the Transfiguration above:
The iconic clouds played a very prominent role in the performance, adorning dancers as well as musicians. So two years later, when Greg and I were first inspired to start our own blog the name, taken directly from the coda of the song above, came rather quickly, and the yod cloud was sure to be a design feature. So here’s a wee walk-through of the header designs we’ve employed in the last four years.
Our first header was rather simple, featuring the yod cloud prominently:
As with many of my designs, looking at it now I see it as cluttered, boring and lazy, but I think we really liked it at the time. The second design was introduced in November 2010 and was nearly identical, but with a few changes:
One cloud was added and each cloud employed finer lines, which tidied up the look a wee bit. Also, the text was brought out to the foreground. Nothing too major until July 2011, when the third overhaul took place:
For some reason I went back to my early design days and employed a whole lot of drop shadow and opacity. Making two dimensional designs ‘appear’ to have three dimensions was all the rage. Not long after this design I realised that the white background was looking very boring, so in September 2011 I added the sea foam hue:
I would consider this a definite improvement, but it frightens me that I went more than two years without altering the design. That is a reflection of how much (or how little) attention I’ve paid to Lost in the Cloud, and for that I apologise (although I suspect that most folk pay no attention to the design and those that do probably never thought of our blog’s aesthetic as much to look at).
This leads me to the current design:
The Andersonian echoes should be screaming at you (though I assure you, it was subconscious). I’ve decided to really shake it all up. The hallmark yod cloud is there, but I’ve actually finally tailored it into a nice, clean, modern design. The hand-drawn element of the previous designs had its own charm, but I’m in the mood for this streamlined cloud. Flanking the redesigned cloud are navigatory motifs (left) and cloudy-scientific motifs (right). And yes, I think I just invented the word ‘navigatory’, but I’m pretty sure you know what I mean. We’ve got the text in a cleaner, modern typeface (the old stenciled typeface was really getting on my visual nerves) that stretches across the whole of the header and below it you may notice nine wee symbols. These are actually international weather office map code for describing different types of high clouds. Along with ditching multiple clouds and the old typeface, I also flattened everything. I think this might be related to the rekindling of my love for printed media and classic branding (see a series of redesigns of professional Scottish football badges I attempted over the last five months).
If you have stuck it through and are still reading this post, let me both apologise for my self indulgence and extend a hearty thank you to you! Greg and I are back to post more regularly and we hope it’s as exciting for you, our readers, as it is for us. And maybe I’ll finally get around to manufacturing some merchandise (like this yod cloud badge) for those eager to rep LITC…
I recall when the first iPod came out in 2001. It was revolutionary – 1000 songs on a portable and extremely attractive hard drive! Less than two years after the release of the iPod, Apple launched the iTunes Store. It was one thing to fit [a portion of] your CD collection onto an iPod, it was another to be faced with the reality that said CDs were no longer useful; one can simply purchase and download digital files which would be synced up with your iPod in minutes. One need not drive to the record store only to find out that the record they intended to buy was no longer in stock (and would, say, Best Buy even carry a Danielson record?!). Soon the iPod (or any MP3 player for that matter) would be easily adaptable to all settings: one’s car or one’s living room, through a portable stereo in the park or strapped to one’s arm during a workout. The sale of CDs has steadily dropped since the introduction of the iPod and similar devices and CDs are quickly becoming a thing of the past.
Although I often despise the association, I am of the CD generation. My family made excessive use of cassette tapes (especially my father’s Van Halen and Eric Clapton and my mother’s Fleetwood Mac and The Beach Boys), but CDs were around for four years before I was even born. I remember my first two CDs: Weezer’s first self-titled record (aka The Blue Album) and Mellon Collie and the Infinite Sadness by The Smashing Pumpkins. Since then, my collection has grown considerably. Still, even with the hundreds of CDs I’ve collected over the last fifteen years, I can fit four times as many on my 120 GB iPod. With services like iTunes, eMusic, Lala, Amazon, etc., complete MP3 albums can be downloaded for a fraction of the price of a new CD, and unless one has some high-end headphones or a high-end stereo system (a lot of $, £, €, ¥,…) the difference between a standard MPEG audio file (160 kbps) and a standard CD (1200 kbps) is rather unnoticeable.
With all of this technological allure some people are still unsettled by the change. I myself prefer to have the album in my hands because I appreciate creative packaging design to a near-obsessive degree. Any look inside a [post Pablo Honey] Radiohead album booklet would quickly convince one of the inferiority of an exclusively digital musical experience (even such an experience with a picture of an album cover on a computer screen). And while we already have the platform for digital music (computers and MP3 players) couldn’t we save on so much physical consumption by switching exclusively to digital music? Even when considering environmental issues like the possibility reducing the production of plastics and paper, I find this option difficult to stomach for the same reason that I find digital books difficult to stomach. There’s something to having a physical CD/package and a physical book in one’s hand…or is there?
Mass production of recorded music didn’t exist until about a quarter of the way into the 20th century. At that time the vinyl phonograph record was the standard and it could only play from two-to-three minutes of music per side. By 1949, vinyl records were in 12-inch LP (45-minute long play) form. This became the standard length of a record. Eventually this was followed by the use of magnetic tape: the 8-track cassette in the late sixties and early seventies followed by the compact cassette, which could generally play up to 45 minutes of music.
In a recent interview with Paste, Sufjan Stevens expressed his own crisis with regard to this whole shift in the way we can experience music:
I’m wondering, why do people make albums anymore when we just download? Why are songs like three or four minutes, and why are records 40 minutes long? They’re based on the record, vinyl, the CD, and these forms are antiquated now. So can’t an album be eternity, or can’t it be five minutes? … I no longer really have faith in the album anymore. I no longer have faith in the song.
Perhaps we find ourselves in this crisis with Sufjan, but while he remains skeptical, I remain hopeful. From 2006 to 2007, vinyl record sales jumped more than 85%, and from 2007 to 2008 vinyl record sales jumped another 89%. Yes, collecting vinyl records is extremely trendy and hip at the moment, and yes, when these hipsters accidentally become parents or are forced into real life via some other circumstance they might realise that investing their money in vinyl records solely for the propagation of their hipster image is not very hip after all. But I still believe that these market figures are indicative of a basic human need for ritual and tradition of some sort.
It is true that there is nothing particularly sacred about the length of an LP or a cassette or a CD, but does the freedom of the age of digital music distribution and consumption require that we abandon the [recent] traditions we’ve grown up with? Just because the technology moves along and just because we move along with it doesn’t mean that we can’t slow down and savour the beauty and simplicity of the traditional way we experience recorded music, packaging included. After all, music is art and art is aesthetic and aesthetic is beauty and beauty, as Kant has defined for us in the Third Moment of his Critique of the Power of Judgment, “is the form of the purposiveness of an object, insofar as it is perceived in it without representation of an end.”
I see great correlations between this issue, ritual, and Church tradition, but that’s for another post.
[Elijah adds: Pet Sounds added to Listening]
The end of the decade has resulted in a number of best of the decade lists. We’ve kind of OD’d on best of lists here already, but Elijah and I wanted to throw in our votes for those works of culture from the 2000’s WE think will/should stand the test of time.
I feel somewhat presumptuous putting this out there, as if my vote actually mattered, but what I have found is that my friends, acquaintances, and YOU dear reader, often find your interest piqued by something that has been declared “the best.” I know that some of Elijah’s musical selections caused me to listen to albums I had not heeded before…so perhaps you may find something here that causes you to want to experience, reconsider or even maybe avoid (?) the following creative endeavors. Hope you enjoy…see you next decade!
Albums (Greg | Elijah)
- Illinois/The Avalanche (2005/2006) Sufjan Stevens | Kid A/Amnesiac (2000/2001) Radiohead
- The Texas Jerusalem Crossroads (2001) Lift to Experience | Greetings From Michigan: The Great Lakes State (2003) Sufjan Stevens
- In Rainbows/Bonus Disc (2007) Radiohead | Figure 8 (2000) Elliott Smith
- The Midnight Organ Fight (2008) Frightened Rabbit | The Sophtware Slump (2000) Grandaddy
- Greetings From Michigan: The Great Lakes State (2003) Sufjan Stevens | Fold Your Hands Child, You Walk Like a Peasant (2000) Belle & Sebastian
- Figure 8 (2000) Elliott Smith | Songs in A & E (2008) Spiritualized
- Kid A/Amnesiac (2000/2001) Radiohead | Jane Doe (2001) Converge
- Lifted, Or The Story Is In The Soil, Keep Your Ear To The Ground (2002) Bright Eyes | Turn On the Bright Lights (2002) Interpol
- Feels (2005) Animal Collective | Illinois/The Avalanche (2005/2006) Sufjan Stevens
- Funeral (2004) The Arcade Fire | Blood Money (2002) Tom Waits
- Takk (2005) Sigur Rós | Control (2002) Pedro the Lion
- Boxer (2007) The National | Veckatimest (2009) Grizzly Bear
- Asleep in the Back (2001) Elbow | We Are the Only Friends We Have (2002) Piebald
- A Rush of Blood to the Head (2002) Coldplay | The Midnight Organ Fight (2008) Frightened Rabbit
- Merriweather Post Pavilion (2009) Animal Collective | Hot Shots II (2001) The Beta Band
- Gang of Losers (2006) The Dears | The Life Pursuit (2006) Belle & Sebastian
- Control (2002) Pedro the Lion | Tyrannosaurus Hives (2004) The Hives
- The Last Broadcast (2002) Doves | The Argument (2000) Fugazi
- The Invisible Band (2001) Travis | Hail to the Thief (2003) Radiohead
- Oh, Inverted World (2001) The Shins | Sea Change (2002) Beck
- Retreiver (2004) Ron Sexsmith | How It Ends (2004) DeVotchKa
Books (there were so many that we didn’t read [Elijah read only a handful of novels from the 2000s], so this list is incredibly subjective and limited in scope)
- Cloud Atlas (2004) David Mitchell
- House of Leaves (2000) Mark Z. Danielewski
- 2666 (2004) Roberto Bolaño
- Atonement (2001) Ian McEwan
- The Book of Illusions (2002) Paul Auster
- Black Swan Green (2007) David Mitchell
- American Gods (2001) Neil Gaiman
- Thinks (2001) David Lodge
- The City & The City (2009) China Mieville
- Blankets (2003) Craig Thompson, graphic novel
- A Heartbreaking Work of Staggering Genius (2000) Dave Eggers, memoir
- The Book of Other People (2007) ed. Zadie Smith, story collection
- The Perry Bible Fellowship: The Trial of Colonel Sweeto and Other Stories (2007) Nicholas Gurewitch, comic collection
- Box Office Poison (2001) Alex Robinson, graphic novel
- The Rough Guide to Cult Fiction (2005) literary survey
- Wall and Piece (2005) Banksy, art collection
- Free of Charge (2006) Miroslav Volf
- Jesus of Nazareth (2008) Pope Benedict XVI
- The Sacredness of Questioning Everything (2009) David Dark
- Renewing the Center (2000) Stanley Grenz
- Across the Spectrum (2002) Gregory Boyd & Paul Eddy
- The Mosaic of Christian Belief (2002) Roger Olson
- The Shaping of Things to Come (2003) Michael Frost & Alan Hirsch
- These last three Tom Wright books are included for their effective introductory appeal rather than any necessary anticipation of ‘classic’ status.
- Paul: In Fresh Perspective (2005) N. T. (Tom) Wright
- Simply Christian (2006) N. T. (Tom) Wright
- Justification: God’s Plan & Paul’s Vision (2009) N. T. (Tom) Wright
Film (G | E)
- Eternal Sunshine of the Spotless Mind (2004) Michel Gondry | ditto
- Amelie (2001) Jean-Pierre Jeunet | Lord of the Rings (2001-03) Peter Jackson
- Children of Men (2006) Alfonso Cuarón | There Will Be Blood (2007) P. T. Anderson
- Lord of the Rings (2001-03) Peter Jackson | The Pianist (2002) Roman Polanski
- The New World (2005) Terrance Malick | Dancer in the Dark (2000) Lars von Trier
- Fantastic Mr. Fox (2009) Wes Anderson | The Royal Tennenbaums (2001) Wes Anderson
- All the Real Girls (2002) David Gordon Green | Memento (2000) Christopher Nolan
- Waltz with Bashir (2008) Ari Folman | Adaptation (2002) Spike Jonze
- In the Mood For Love (2000) Kar Wai Wong | Big Fish (2003) Tim Burton
- Crouching Tiger, Hidden Dragon (2001) Ang Lee | ditto
- The Assassination of Jesse James By the Coward Robert Ford (2007) Andrew Dominik | Zodiac (2007) David Fincher
- WALL-E (2008) Andrew Stanton | The Proposition (2005) John Hillcoat
- There Will Be Blood (2007) P. T. Anderson | Fantastic Mr. Fox (2009) Wes Anderson
- Memento (2000) Christopher Nolan | The Prestige (2006) Christopher Nolan
- Pan’s Labyrinth (2006) Guillermo del Toro | Elephant (2003) Gus Van Sant
- The Royal Tennenbaums (2001) Wes Anderson | A Beautiful Mind (2001) Ron Howard
- The Proposition (2005) John Hillcoat | Pan’s Labyrinth (2006) Guillermo del Toro
- The Prestige (2006) Christopher Nolan | About Schmidt (2002) Alexander Payne
- The Lives of Others (2007) Florian Henckel von Donnersmarck | Capote (2005) Bennett Miller
- Moulin Rouge (2001) Baz Luhrmann | Lost in Translation (2003) Sofia Coppola
- Donnie Darko (2001) Richard Kelly | American Splendor (2003) Shari Springer Berman & Robert Pulcini
In my lifetime I have been blessed with the opportunity to know or at least to be exposed to various people that have a magic in them that necessitate a portion of my devotion – my heroes. Among them are people like my father, who taught me the meaning of selflessness, hard work, and patience, my grandfather, who taught me what it truly means to be a servant of God, Greg, who has impacted the way I relate to God, myself, others and to art more than any other single person, and people that I don’t know personally – people like Bob Dylan, John Gardner and Elliott Smith. Among those people at the top of my list of heroes, Daniel Smith stands out as the most inspiring and influential.
Daniel Smith is truly a unique character. It’s difficult to be indifferent toward him, that is to say he is a polarizing person. There’s a quality to his personality and the way he expresses himself that will either turn you on or turn you off, but will never leave you indifferent. The process and product of his imagination are not something I can easily express in one post. In 2006 a documentary was released, ‘Danielson, a Family Movie (or, Make a Joyful Noise Here)‘ documenting the progress of Daniel Smith’s artistic expression since the founding of the “Danielson Famile,” a band literally consisting of Daniel and his siblings. Daniel was an art student at Rutgers and his professors insisted that the visual and performing arts were to be kept in their respective galleries and conservatories. Daniel wouldn’t have it, and since 1994 he hasn’t had it. He’s continued to press forward even after fifteen years of mediocre (at best) success. The sincerity and devotion with which he creates is what captures me most.
I could go on and on about Daniel and the opportunities I’ve had to meet him/see him perform, but I’d rather introduce you to the man. And if you’ve already been introduced you ought to watch anyway. This video, which was posted on the Danielson site yesterday, is a great summation of much of what Daniel Smith stands for. Take a look: