15 2 / 2012

The scientific reason why ‘Someone Like You’ is just so into you:

The Science of Why Adele’s ‘Someone Like You’ Makes Everyone Cry
Tension, resolution, and the ever important “buildy-ness” (which is a term I invented but is accurate), these are the characteristics behind the most extreme emotional reactions to songs:

Twenty years ago, the British psychologist John Sloboda conducted a simple experiment. He asked music lovers to identify passages of songs that reliably set off a physical reaction, such as tears or goose bumps. Participants identified 20 tear-triggering passages, and when Dr. Sloboda analyzed their properties, a trend emerged: 18 contained a musical device called an “appoggiatura.”
An appoggiatura is a type of ornamental note that clashes with the melody just enough to create a dissonant sound. “This generates tension in the listener,” said Martin Guhn, a psychologist at the University of British Columbia who co-wrote a 2007 study on the subject. “When the notes return to the anticipated melody, the tension resolves, and it feels good.”
Chills often descend on listeners at these moments of resolution. When several appoggiaturas occur next to each other in a melody, it generates a cycle of tension and release. This provokes an even stronger reaction, and that is when the tears start to flow.

There’s just about the most detailed scientific analysis of a Grammy-winning song ever at the link.
(via WSJ.com)

The scientific reason why ‘Someone Like You’ is just so into you:

The Science of Why Adele’s ‘Someone Like You’ Makes Everyone Cry

Tension, resolution, and the ever important “buildy-ness” (which is a term I invented but is accurate), these are the characteristics behind the most extreme emotional reactions to songs:

Twenty years ago, the British psychologist John Sloboda conducted a simple experiment. He asked music lovers to identify passages of songs that reliably set off a physical reaction, such as tears or goose bumps. Participants identified 20 tear-triggering passages, and when Dr. Sloboda analyzed their properties, a trend emerged: 18 contained a musical device called an “appoggiatura.”

An appoggiatura is a type of ornamental note that clashes with the melody just enough to create a dissonant sound. “This generates tension in the listener,” said Martin Guhn, a psychologist at the University of British Columbia who co-wrote a 2007 study on the subject. “When the notes return to the anticipated melody, the tension resolves, and it feels good.”

Chills often descend on listeners at these moments of resolution. When several appoggiaturas occur next to each other in a melody, it generates a cycle of tension and release. This provokes an even stronger reaction, and that is when the tears start to flow.

There’s just about the most detailed scientific analysis of a Grammy-winning song ever at the link.

(via WSJ.com)

(via poptech)

07 1 / 2012

No other comment but,
OH MY SPOOF!

No other comment but,

OH MY SPOOF!

(via gildedfish-deactivated20120207)

07 1 / 2012

Does it matter if I am a right-handed?
Will that determine my rights is (slightly) bigger?
Eh, I am not talking about my rights. I am talking about the right side of my brain.
OH MY SPOOF!

Does it matter if I am a right-handed?

Will that determine my rights is (slightly) bigger?

Eh, I am not talking about my rights. I am talking about the right side of my brain.

OH MY SPOOF!

(Source: flvrdpicks)

07 1 / 2012

I choose to be happily right rather than rightly happy.
How about you?

I choose to be happily right rather than rightly happy.

How about you?

(via chrispiascik)

06 1 / 2012

It takes two four to tango know what time is it.

(via designcloud)

28 12 / 2011

Everbody, can you read it?

Everbody, can you read it?

(Source: designcloud)

24 12 / 2011

THIS IS A SPOOF FOR EVERY SINGLE FABLE YOU WATCHED.
Winnie the Pooh, Peter Rabbit, Hachiko, you name it.
Just create your own story based in your mind simply with a pair of hands.

THIS IS A SPOOF FOR EVERY SINGLE FABLE YOU WATCHED.

Winnie the Pooh, Peter Rabbit, Hachiko, you name it.

Just create your own story based in your mind simply with a pair of hands.

(Source: suzukilluminate)

22 12 / 2011

"Christmas is doing a little something extra for someone."

Charles M. Schulz (1922-2000)

The creator of ”Peanuts,” the tender and sage comic strip starring Charlie Brown and Snoopy that is read by 355 million people around the world.

22 12 / 2011

SNOOPY IS IN THE HOUSE. WOODSTOCK TOO.
July 2010, Snoopy’s World, New Town Plaza, Hong Kong
Remember the episode of I Want A Dog For Christmas, Charlie Brown aired 8 years ago? I want too this year; well you might call it a spoof. The thing I always wonder about this character is how it can lie awake almost every time, in the rooftop (yes, it is literally rooftop.) And it does too in the Snoopy World in Hong Kong.
At the episode I have mentioned above, even Snoopy asked:
“I always lie awake wondering, when will it ever end?”
Then a voice tells it,
“Right after the credits.”
Yes, you are right, after the credits of people in the real world who stand by you, Snoopy.

SNOOPY IS IN THE HOUSE. WOODSTOCK TOO.

July 2010, Snoopy’s World, New Town Plaza, Hong Kong

Remember the episode of I Want A Dog For Christmas, Charlie Brown aired 8 years ago? I want too this year; well you might call it a spoof. The thing I always wonder about this character is how it can lie awake almost every time, in the rooftop (yes, it is literally rooftop.) And it does too in the Snoopy World in Hong Kong.

At the episode I have mentioned above, even Snoopy asked:

“I always lie awake wondering, when will it ever end?”

Then a voice tells it,

“Right after the credits.”

Yes, you are right, after the credits of people in the real world who stand by you, Snoopy.

22 12 / 2011

"A photograph should talk. Over and over again, varying each time it is viewed. Sometimes I use a title to give a hint, but solely leave it to the viewer to analyze. I believe the interpretation also depends on age, education, experiences of life, culture area, origin or sex. I do not really care ‘how’ my work is seen, as long as the photograph does interact at all."

Reinfried Marass