Why Romantic historians acknowledge the human feelings behind the facts

Following the Age of Enlightenment’s emphasis on empiricism, Romantic historians such as the French writers Augustin Thierry (1795-1856) and Jules Michelet (1798-1874) viewed human emotion as vital to – and inexorably part of – constructing meaningful renderings of history. This piece from the UK video essayist Lewis Waller offers a brief intellectual history at the nexus of Romanticism and historiography. From there, Waller makes the case that, by rejecting the possibility of objective detachment from historical facts and embracing feelings and narrativisation, these Romantic thinkers built more ‘truthful’ histories than empiricists.

How scars continue to shape the mind long after the tissue has settled

Whether born of an accident or an illness, every accumulated scar has in some way shaped the lived experience of the person who carries it. But, even as every scar tells a life-altering story, it’s considered rather tactless to ask someone about their physical marks. This short documentary from the UK directors Rebecca Lloyd-Evans and Laura Dodsworth breaks the taboo. Reaching far beneath the skin, Lloyd-Evans and Dodsworth profile five people with significant scars that vary greatly in appearance and origin – from injuries of war to marks of self-harm to wounds present from birth. In doing so, the film explores the potential for scars to fundamentally alter the way people view themselves, others and the world at large.

Can you express sounds with sights? An artist takes a crack at animating jazz piano

For his short film Liza, the French animator Bastien Dupriez aimed to create ‘a kind of visual transcription’ of the George Gershwin song Liza (All the Clouds’ll Roll Away) (1929), as performed by the French musician Jean-Michel Pilc. As the rollicking jazz piano builds, the frame splashes with abstract shapes and colours, as well as hints of human forms. The resulting effect is of visuals built to accompany and respond to the mood of the music, rather than the much more familiar inverse experience. Beyond serving as a mesmerising slice of audiovisual eye candy – and it certainly is that – the piece also provokes a bevy of intriguing questions about our multisensory experience of art.

Ceramic coral reefs and sawdust houses – the architects 3D-printing the future from scratch

3D printing is moving beyond plastics: instead, the American architects Ronald Rael and Virginia San Fratello (working together as Rael San Fratello) use a wide array of recycled and organic materials – everything from car tyres and sawdust to grape skins and coffee grounds. Via experimentation with such novel substances, the duo aims not only to create more sustainable approaches to 3D printing, but to brainstorm innovative solutions to pressing societal problems too. This video from the Museum of Modern Art (MoMA) in New York takes viewers inside Rael San Fratello’s ‘print farm’ in Northern California, and spotlights two of their most promising initiatives – a project to support coral reef restoration via protective clay ‘coral seeding units’, and a prototype cabin built from ceramic and sawdust tiles to help solve California’s affordable housing crisis.

What a ‘good death’ can look like, in the quiet company of a compassionate stranger

‘When I can’t do things for someone else, I simply become unhappy,’ says Loes Prakke, waiting outside the front door of a small house late one evening. She rings, enters and introduces herself to Joop, an elderly man who is sitting up in bed and clearly sick. She tells him she’ll be staying through the night, so that Joop’s loved one, Ria, can get some rest. After acknowledging his hardship, she offers to spend some time chatting so they might get to know one another a bit.

The third volunteer to watch over Joop in his illness, Loes’s warm presence is a simple yet deeply meaningful gift to the couple – a reassurance that Joop will be cared for and comfortable during this final phase of his life. In her short documentary The Final Nights, the Dutch director Reneé van der Ven matches the gentle presence of her subject with her filmmaking, capturing Loes’s extraordinary gift for compassion with a respectful observational style. In chronicling Loes and Joop’s nights together, the film quietly reflects on the meaning of a ‘good death’, as well as the power of human connection in its many distinct forms.