A bibliophile’s paradise: the National Library of France in a classic documentary from 1956

Before there was the internet, there was la Bibliothèque nationale de France (the National Library of France) in Paris: an ever-expanding collection of books, manuscripts, maps and other cultural artifacts that has been operating continuously since the 15th century. The documentary Toute la mémoire du monde (All the Memory in the World), made by the influential and celebrated French filmmaker Alain Resnais in 1956, is an astounding tour of the institution before digitisation, when the world’s largest well of information wasn’t at our fingertips, but fastidiously collected and sorted behind library walls. Resnais focuses not only on the imposing scope of the library’s holdings, but also explores the vast enterprise of maintaining it for centuries to come, as well as the facility’s role as a bustling home for curiosity and enquiry. Through moody black-and-white cinematography of the library’s collection, architecture and meticulous processes, the film explores a place that, like human knowledge itself, is ‘destined to be forever a work in progress’. A dramatic score by Maurice Jarre – by turns pulsing, soaring and delicate – acts as a further guide through the labyrinth of the library, and the film itself. 

See and hear the human brain as you’ve never experienced it before

The Laboratory for NeuroImaging of Coma and Consciousness (NICC) at Massachusetts General Hospital in Boston studies the process of recovering consciousness after traumatic brain injuries. Using more than 100 hours of MRI scans of a human brain unaffected by neurological disease or traumatic brain injuries, a team at the NICC compiled the highest-resolution rendering of a full human brain on record, detecting objects smaller than 0.1 millimetres. Neurosymphony, exclusive to Aeon, explores three distinct perspectives on the brain, using videos of the scans made freely available by the NICC. The video pairs the imagery with an excerpt from the album Chapel by the US electronic musician and music-cognition researcher Grace Leslie, in which she converts her brainwaves into music. Beyond providing an unprecedented glimpse into the intricacies of the human brain, the NICC team hopes that these images will assist other researchers in identifying abnormalities associated with complex brain conditions such as coma and depression.

Via Kottke

A dreamy animated tale of grief, friendship and a road trip to David Hockney’s house

‘You were too young to lose your mum. And we were too young to be organising a funeral.’

When her friend’s mother died, the UK filmmaker Alice Dunseath and her friend set out on an unplanned road trip through Yorkshire, mostly because they didn’t know what else to do. The only destination they gave themselves was the house of the artist David Hockney, supposedly somewhere in the town of Bridlington. Dunseath’s brief animation echoes some of Hockney’s signature stylistic flourishes, including dreamlike landscapes and saturated colours, but her narration offers an arresting counterpoint to the images – a simple, aching account of how grief can both heighten and numb the senses, render words meaningful and meaningless, and make goals simultaneously important and absurd.

Who is ‘looting’ and who is ‘finding food’? How image gatekeepers shape the news

In August 2005, Alysia Burton Steele was just two months into her job as a photo editor on The Dallas Morning News when she decided to dispatch the photographer Irwin Thompson to New Orleans to document the impact of Hurricane Katrina. Her newspaper’s bold journalistic work went on to win a Pulitzer Prize for Breaking News Photography in 2006. In this short interview, Burton Steele describes how her team approached their coverage of the storm and its aftermath, and discusses the telling disparity between how news outlets presented African Americans and white people affected by the tragedy. This video is part of Topic’s Frame by Frame series, in which ‘celebrated photojournalists explore images of the people and events that helped shape the American experience, and discuss how working with photographs impacts them personally’.

When a deafblind woman from Denmark met a woman like her in Nepal

‘I dreamt I was the deafblind woman we visited … And there was no information, nothing, just isolation.’

Sensory experience, cultural differences and degrees of privilege collide in a meeting between two deafblind women: Dorte Eriksen from Denmark and Budhi Maya Gurung from Nepal. Commissioned by the Danish Deafblind Association to document a trip to help deafblind people in Nepal, the Mexican-Danish filmmaker Isabel Morales Bondy found herself filming the two women’s remarkable encounter. A Woman Like Me is assembled entirely without spoken words. Instead, viewers get to see as if through Eriksen’s eyes and hear only what the director does as witness to the women’s language of touch. Acknowledging the opacity of this experience, Morales Bondy chose not to subtitle the women’s meeting, prompting profound questions about language, communication and human connection.