What does a classical musician do when she starts losing her hearing?

Elizabeth Petcu was at the height of her career when she realised she was slowly losing her hearing, and would soon need to leave her position as principal flautist in Ireland’s prestigious RTÉ Concert Orchestra. Rather than give up on music, though, Elizabeth has continued to play, observing that a ‘big part of hearing loss is your perception of your loss’. While she isn’t free from feeling deep sorrow at times, her gentle yet firm commitment to continue to create clearly carries her through the challenges of losing her hearing.

Dramatic close-ups capture something percolating and exploding – but what is it?

Winner of the Jury Prize in the 1981 Cannes Film Festival’s Short Films competition, Zea is an impressive and exhilarating piece of macro filmmaking. In a montage, close-ups capture a mysterious yellow subject as it heats and bubbles. But what is it? Canadian filmmakers André Leduc and Jean-Jacques Leduc keep viewers in suspense with a sequence that gradually builds in effervescence, ultimately erupting in a conclusion befitting its dramatic orchestral accompaniment, Tallis Fantasia (1910) by Ralph Vaughn Williams.

Why don’t we feel pain in dreams? The answer might lie in a new frontier of neuroscience

The UK research scientist Susan Greenfield believes that neuronal assemblies – coalitions of millions of brain cells that activate and disband over a scale of millimetres and milliseconds – could be a Rosetta Stone for explaining shifts and differences in states of consciousness. Although research about these cellular systems is still in its early stages, Greenfield thinks that further study could help neuroscientists bridge the chasm between the local neural networks and large brain regions that currently characterise our framework for perception. And, as she proposes in this interview with Robert Lawrence Kuhn for the PBS series Closer to Truth (2000-), bridging this gap might be key to unlocking some of the foremost puzzles of consciousness – from sleep, dreams and wakefulness to mental illness.

Orson Welles’s psychedelic 1973 adaptation of Plato’s timeless ‘allegory of the cave’

Warning: this film features rapidly flashing images that can be distressing to photosensitive viewers.

‘It is the task of the enlightened not only to ascend to learning and to see the good but to be willing to descend again to those prisoners and to share their troubles and their honours, whether they are worth having or not. And this they must do, even with the prospect of death.’ – Plato’s Republic, Book 7

Plato’s ‘allegory of the cave’ thought experiment ponders the experience of prisoners shackled in a cave from birth, only able to see the shadows of objects projected onto a wall. The text then traces the journey of a prisoner who is set free from the cave, given the opportunity to experience reality in the glow of the sun, and, upon returning to the cave, is met with laughter by the other prisoners, who think him a fool for struggling to readjust to his old existence. A simple story yielding complex commentaries on the nature of reality and wisdom, Plato’s timeless allegory is built into the foundations of modern philosophy, and, more than two centuries later, still stirs debate. Carried by a rich narration from Orson Welles, this rarely seen 1973 animated adaptation of Plato’s words populates the tale with haunting human figures, bringing retro-surreal life to the parable.

Via Open Culture

Sketches from a Barcelona square offer an elegant celebration of people-watching

Barcelona’s squares (plaças in Catalan, plazas in Spanish) are the beating heart of the Catalonian capital – beloved to residents and tourists alike. Breaking the monotony of the city’s gridded streets, these open outdoor areas percolate with the comings and goings of al fresco diners, makeshift football matches and all iterations of art and commerce. Formed from sketches made while the London-based filmmaker Gabriella Marsh was living in Barcelona, the brief animation Solos captures daily life in a small square in the historic Gràcia neighbourhood. Streets are swept, families squabble and friendly greetings are exchanged. And yet these mostly mundane scenes transform into something quite remarkable via Marsh’s stylish hand-drawn images and composer Joe Bush’s gentle piano score. What emerges is an elegant meditation on the intersections of streets, stories and social forces that give shape to a city block.