By Maria Popova
Geeks and eco-freaks alike rejoice: you can now both be happy as larvae in chicken poop and call each other on the world’s first sustainable cell phones. Because, despite their ubiquity — or perhaps because of it — cell phones are given very little thought between the store and the dumpster. Out of the one billion phones produces annually across the globe, only 10% are recycled — the rest are swapped for a new one every 18 months, ending up in all the world’s landfills.
So Nokia researchers, inspired by a bit of cultural anthropology, technology…and, okay, maybe a bit of pressure from Wall Street, set out to change things. Whatever the motive, we dig the latest concept phone from the world’s largest mobile-phone maker: the Nokia Remade.
It’s a cell phone made entirely of recycled waste: aluminum cans for the shell, plastic bottles for the chassis and car tyres of the key mats. And we think it’s quite the looker, too. Think of it as the Simple of cell phones.
It’s not just made from eco-friendly materials like corn-based bio-plastic and bamboo. It’s also entirely biodegradable and, once you remove the battery and antenna, the case can go in your favorite compost pile. There, it decomposes withing a few weeks. Then — no joke — it actually grows bamboo shoots: the case is filled with seeds.
So could concept phones be the new concept cars? Great in theory, but never really hit market in any sort of world-changing way? We hope not — cause we’ll take the Remade over the iPhone any day. Better yet, Steve Jobs, save that Diet Coke can — it’s back to the lab.
And, hey, why stop at technology? Repurposed materials are a brilliant fit for art. Case in point: the Car Music Project.
It started in 1994 with the slow yet noisy demise of a certain old Honda Accord. Except that particular shackwagon was American composed Bill Milbrodt’s faithful old Honda Accord. So he decided a junkyard end was not enough: he envisioned a resurrection of the car, one that turned it into music multiple musicians could play and interpret.
So he got a team of auto experts to take the car apart, then hired metal sculptor Ray Faunce III to hand-craft musical instruments from the parts. The result — a stunning orchestra of brass, wind, percussion and string instruments.
Fast-forward to today. The U.K. division of Ford used the Car Music Project in commercial work for the Ford Focus which, granted, does take away from the project’s street cred but it also introduces a whole new wide audience to this novel way of thinking. The resulting TV spot, if you can abstract yourself from the mediocre vocals, the music video cliches and the awkwardly forced presence of the car, is an impressive testament to Milbrodt’s revolutionary brilliance.
Although vaguely reminiscent of a fantastic Cannes-recognized spot for, coincidentally, Honda — at least to the extent that it “plays” the car — it’s truly a rarity of unconventional thought. Well played, Milbrodt, well played.
More cars and art: we’re pretty cynical about any kind of corporate-backed art endeavors, but we’ve had our eye on the Scion Installation Art Tour since it first made waves 5 years ago. After all, the quirky car — the ultimate four-wheel tribute to the subjectivity of taste and beauty — should fit right into the irreverent, revolutionary corners of the art world.
Which it has — since 2003, the Installation has toured nearly every major cultural epicenter in the US.
Last year, it embarked upon its 4th annual tour titled “It’s a Beautiful World” — and starting this weekend, it’s making a stop right here in Philly. Between March 7 and March 21, cutting-edge new talent across collage, painting, photography and sculpture will be showcasing mind-bending work at the F.U.E.L. Collection, better known as “the Real World house,” on 3rd and Arch.
The featured artists hail from a ton of backgrounds, mindsets, nationalities, disciplines and perspectives. So it looks like a phenomenal show. And to wrap up the season, all the art will be auctioned off at the Intstallation’s last stop in L.A., with 100% of proceeds going to art-related charities.
So who’s joining us at F.U.E.L. this week?
We’re suckers for Hitchcock and don’t think the current debased state of Hollywood culture could ever outdo him. Which is why we dig Vanity Fair’s 2008 Hollywood Portofilio, the centerpiece of their 14th Annual Hollywood Issue: it pays creative tribute to Hitchcock, forsaking the illusion of outdoability and embracing instead a vision of redoability.
Four Vanity Fair photographers worked their magic with 21 top contemporary actors to recreate 11 iconic Hitchcockian scenes.
To our ultimate delight, one of our favorite actors, Scarlett Johansson, was cast in our favorite Hitchcock: Rear Window. Which we also find to be a perfect metaphor for the entire project: the voyeurism that backbones the film’s plot blended with the inherent voyeurism of today’s celebrity culture.
The full lineup of talent: Casey Affleck, Javier Bardem, Josh Brolin, Julie Christie, Marion Cotillard, Robert Downey Jr., Ben Foster, Jodie Foster, Emile Hirsch, Scarlett Johansson, Keira Knightley, Jennifer Jason Leigh, James McAvoy, Omar Metwally, Gwyneth Paltrow, Seth Rogen, Eva Marie Saint, Charlize Theron, Naomi Watts, Tang Wei, and RenÃ©e Zellweger.
More celebrities and film: guess what Isabella Rossellini is up to these days. Nope, it’s not Hollywood — it’s more Sundace Channel meets Discovery. After last week’s exploration of the biosphere’s creative potential, we’re glad to find Rossellini joining us…although she skews less ornithology and more pornithology.
The iconic model- slash-actor-slash- filmmaker is writing, directing and starring in Green Porno — a Sundance Channel series of short films on the sex life of bugs. Clad in various insect costumes and humping cardboard decoys, she somehow gets the magic of it across in a brilliant way, shot with a mix of childlike simplicity and German Expressionism.
Weird? Perhaps. Avant-garde? No question. Tremendously insightful, enlightening and inspiring? Absolutely.
Here’s to another cultural artifact that blends the science and art worlds in a strikingly refreshing way. And, um, those house flies are getting us all hot and bothered…not in their usual midsummer rotting garbage way.
If all the humping bugs got you in a certain mood, then you’re in luck: our product pick of the week is just the thing. It also happens to be a world innovation in, um, bookbinding. Because Aqua Erotica claims to be “the first-ever waterproof book for adults.”
(Wait, there was a waterproof book for kids? One more thing we missed out on in childhood, thanks mom.)
We’re not quite sure what to make of all the boastful claims veiled in amusingly cheesy tropes. But, hey, be your own judge — whatever floats your duckie.
We love Wired. We love eye-opening data. We’re also health freaks. So this week’s Untrivia borrows from the good folks at Wired — this nifty data visualization from January’s issue is just too good to not share. Not because we didn’t already know the healthiest foods are found on periphery of the store and the obesity-propagating stuff of insane energy densities lurks in the middle. But because this visual representation drives a bigger point home:
The point: there’s something fundamentally broken in our economic model. How come the healthiest foods are also the most expensive on a cost-per-calorie basis? All the government aid to the poor seems moot: food stamps to barely afford those cheap unhealthy foods, then medicare to slap a Band-Aid on the obesity-driven results.
Why not just cut back on those corn subsidies (hello, corn syrup, you number-one obesity culprit) and pour a bit into, say, organic farming? The recent Farm Bill gave $42 billion in subsidies to commodities (yep, those Reese’s Cups and Pringles would be it) and a mere $1.6 billion to fruit and vegetable.
Seems like the government can learn a thing or two from Michael Pollan.
Published March 7, 2008