The winding road to the modern bicycle was a weird and wobbly ride

This short French film from 1915, seen here with Dutch intertitles, charts the development of the bicycle over the course of the 19th century. The film begins with a man riding a draisine – invented by the German Baron Karl von Drais de Sauerbrun in 1818, this was a forerunner of the bicycle that was propelled by walking. From there, we take a wobbly ride through bicycle history, showcasing the evolution to modern, pedal-driven contraptions that have remained mostly unchanged since the 1890s.

The following are translations of the intertitles as numbered in the film:

1. The draisine was invented only a century ago, in 1818 by Baron Drais de Sauerbrun.

3. The vehicle that lies between the draisine and the 1850 bicycle has an improved steering wheel and a fitted brake.

4. In 1863, Pierre Lallement invented pedals that worked on the front wheel.

5. Around 1868, a third wheel was added. Although these tricycles were heavier than the two-wheelers, they were safer.

6. Between 1867 and 1870, various improvements were made, including the increased use of rubber tyres. 

7. In 1875, following an invention by the engineer Trieffault, the frame was made of hollow pipes.

8. Following the fashion of the day, the front wheel was made as large as possible.

9. In 1878, Renard created a bicycle with a wheel circumference of more than 7 feet. Just sitting down on one of these was an athletic feat!

11. At the beginning of 1879, Rousseau replaced the large front wheel with a smaller one, and the chain was introduced on the front wheel for driving power.

12. The bicycle of today.

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. 

A quantum odyssey from the tip of a pen to the dark side of human knowledge

The classic short film Powers of Ten (1977) propelled viewers on a journey from a Chicago park into deep space and then back down to the scale of a single proton. In The Super Zoom, the Brazil-based graphic designer Pedro Machado’s visualisation dives even deeper into the realm of the subatomic and theoretical. While the original film by Charles and Ray Eames zoomed in to a scale of 10^-16 metres at most, Machado’s film draws on 40 years of quantum research – not to mention significant advances in 3D rendering technology – to drill down to the unfathomably small scale of 10^-33 metres, brushing up against the limits of human knowledge and imagination. The mindbending animation uses a framework of quantum gravity in which a gravitational field exists at these smallest conceivable scales.