Prescribing Exercise to Treat Depression

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Can a stroll help ease depression? That question preoccupied Dr. Madhukar H. Trivedi, a professor of psychiatry at the University of Texas Southwestern Medical Center in Dallas, after several of his patients, all suffering from serious depression, mentioned that they felt happier if they went for a walk. The patients in question were taking the widely prescribed antidepressants known as S.S.R.I.’s, for selective serotonin reuptake inhibitors, but not responding fully. They remained, by clinical standards, depressed. Dr. Trivedi and his colleagues began to wonder if adding a formal “dose” of exercise would increase their chances of getting better.

Certainly the possibility was worth investigating. Clinical depression, as anyone who has experienced or watched a loved one struggle with the condition knows, can be stubbornly intractable. Even if patients have been taking an antidepressant for months, recovery rates tend to hover below 50 percent.

In order to increase the odds of improvement, doctors frequently add a second treatment — often another drug, like lithium or an antipsychotic — to the S.S.R.I. regimen at some point, Dr. Trivedi said. Most patients ultimately require at least two concurrent treatments to achieve remission of their depression, he said. Studies have shown that these secondary drug treatments help an additional 20 to 30 percent of depressed patients to improve, but the medications can be expensive and have unpleasant side effects.

Which prompted Dr. Trivedi to look to exercise. His investigation joins a growing movement among some physiologists and doctors to consider and study exercise as a formal medicine, with patients given a prescription and their progress monitored, as it would be if they were prescribed a pill.

In this case, Dr. Trivedi and his collaborators, who included researchers at the Cooper Institute in Dallas, the Pennington Biomedical Research Center in Louisiana and other institutions, recruited 126 people with depression who had been using S.S.R.I.’s for a minimum of two months, without achieving remission. None of the patients exercised.

Trivedi and his colleagues divided these volunteers into two groups. One began a gentle aerobic exercise routine, under the tutelage of Cooper Institute researchers, which required them to burn a certain amount of calories per session, depending on their weight. How the subjects expended the energy was up to them. Some walked for about 10 minutes a day, on a treadmill or by strolling around the block, at a pace of three miles an hour. Others chose an equivalent easy cycling workout.

The second group was more energetic, walking briskly for about 30 minutes a day at a pace of four miles an hour, or the cycling equivalent, a regimen that meets the current exercise recommendations from the American College of Sports Medicine.

Each volunteer exercised for four months, while continuing to take an antidepressant. At the end of that time, according to the study published recently in The Journal of Clinical Psychiatry, 29.5 percent had achieved remission, “which is a very robust result,” Dr. Trivedi said, equal to or better than the remission rates achieved using drugs as a back-up treatment. “I think that our results indicate that exercise is a very valid treatment option” for people whose depression hasn’t yielded to S.S.R.I.’s, he said.

As with most scientific findings, though, there are caveats.

One is practical. More patients improved in the group that completed the longer, brisker workouts than in the group assigned the easier exercise, but more of them also dropped out of the study. “We need to find ways to support people’s efforts to exercise,” Dr. Trivedi said. “It’s not going to be enough to casually say, ‘Go for a walk.’” Exercise, if it’s to be medicinal in depression treatments, will have to be monitored, he said, so it can’t be shrugged off.

Even then, many people will not respond. Almost 70 percent of the volunteers in this study did not achieve full remission. Failure rates were particularly high for women with a family history of depression, perhaps as a result of some as yet unknown genetic quirk. And women in that group who did recover were more likely to succeed using the lighter exercise program than the more strenuous routine.

Then there is the issue of a control group, whose members would have continued with their S.S.R.I.’s but not exercised. This study did not have one, making interpreting the results tricky, said James A. Blumenthal, a professor of psychology and neuroscience at Duke University who was not involved with this study but who has written extensively about exercise and depression. Perhaps four additional months of S.S.R.I. treatment raised people’s moods, and the exercise was incidental. “Evidence is accumulating that exercise may be an effective treatment for depressed patients who are receptive to exercise as a possible treatment and who are able to safely engage in exercise,” he said. But the evidence is by no means definitive.

Still, Dr. Trivedi said, although additional studies certainly are needed, there’s no reason for people with unyielding depression not to talk now with their doctors about exercise as a treatment option. “Side effects are almost nonexistent,” he said, “while you get additional benefits, in terms of improvements in cardiovascular health and reductions in other disease risks,” things antidepressant drugs do not provide. “Plus,” he pointed out, “the cost profile is very favorable.” Exercise, as medicines go, is cheap.

via well.blogs.nytimes.com

http://jantervonen.com/prescribing-exercise-to-treat-depression

Breakfast of Champions

I like to eat breakfast alone, and almost never before noon; anybody with a terminally jangled lifestyle needs at least one psychic anchor every twenty-four hours, and mine is breakfast. In Hong Kong, Dallas, or at home—and regardless of whether or not I have been to bed—breakfast is a personal ritual that can only be properly observed alone, and in a spirit of genuine excess. The food factor should always be massive: four Bloody Marys, two grapefruits, a pot of coffee, Rangoon crêpes, a half-pound of either sausage, bacon, or corned-beef hash with diced chilies, a Spanish omelette or eggs Benedict, a quart of milk, a chopped lemon for random seasoning, and something like a slice of key lime pie, two margaritas and six lines of the best cocaine for dessert…Right, and there should also be two or three newspapers, all mail and messages, a telephone, a notebook for planning the next twenty-four hours, and at least one source of good music…all of which should be dealt with outside, in the warmth of a hot sun, and preferably stone naked.

via laphamsquarterly.org

http://jantervonen.com/breakfast-of-champions

Infographic Of The Day: App Turns Your Facebook Data Into A Book

It's like a photo album for your status updates.

Social media -- "friends," "likes," status updates, check-ins -- forces us to live in a perpetual present tense with no long-term memory. Tweets that get pushed down too far into the past get lost; god knows what happens to Facebook status updates. But if these digital scintillae are ever going to become a real basis for forming emotional memories, we need to be able to "fix" them somehow. Enter "Social Memories," a Facebook app that analyzes the glob of personal data you heedlessly throw into Zuckerberg's maw and visualizes it as attractive infographics that you can have printed out as an actual keepsake book. Just like grandma's photo album (but much, much weirder)!

Before you scoff at the notion of capturing status updates for posterity, it's hard to deny Social Memories' keen eye for data visualization. Status updates and "Likes" are near-pointless individually, but in aggregate they really do form a pointillistic image of what you were really thinking, feeling and doing at any given point in your social-media-augmented life.

In aggregate, Facebook likes form a pointillistic image of you.

It's the same thinking that led Nick Felton to create his beloved "Feltron Annual Reports" about how many stairs he climbed or lattes he drank over the course of a year. Like Felton's cheeky-but-also-sincere work, Social Memories touts its "infographics that show your social highlights and trends," "elegantly designed to present your memories with clarity." Underneath the flip attitude, though, Social Memories is attempting something unique and necessary in the evolution of this medium: namely, allowing space for nostalgia.

Click here to try the Social Memories app.

via fastcodesign.com

http://jantervonen.com/infographic-of-the-day-app-turns-your-faceboo

Inside the Internet Art Bubble

The internet finally seems to have made a dint in New York's institutional art world. Cory Arcangel, an artist who began his career manipulating old computer technologies and critiquing web culture, has an entire floor to himself at The Whitney. At the age of 33, his show Pro Tools makes him the youngest artist to receive a solo show at the institution since Bruce Nauman in 1973. Meanwhile, over at MoMA PS1, 30-year-old art star Ryan Trecartin is gathering steam with his four hour-plus video exhibiton of fucked-up child-adults on Blackberries, titled Any Ever. The show at PS1, chock full of internet jargon, is just one stop on a world tour that includes the Istanbul Modern Museum and the Musée d'Art Moderne de la Ville de Paris.

Given the ridiculous level of buzz now surrounding these shows, one has to wonder just what we're expecting from the art. Although local critics have mostly panned Arcangel's exhibition, initial press included profiles in The New Yorker, New York Magazine, and the New York Times—a barometer of significant pre-show hype. I don't know anyone who doesn't want to proffer an opinion about that show, even if they haven't seen the exhibition or don't know anything about the art, a sure sign of The Emperor Has No Clothes syndrome. While Ryan Trecartin's pre-press was a little more subdued, once the show opened critics basically queued up to laud it. The Times's Roberta Smith described the show as a "game-changer," praise topped only by The New Yorker's Peter Schjeldahl, who described Trecartin as "the most consequential artist to emerge since the mid-eighties." Apparently, he's our Jeff Koons.

Two questions come to mind: First, is it really the art that's prompting this clamor? And second, how did Arcangel and Trecartin end up garnering such a focus in the first place? The answer to the first question is obvious: virtually no media frenzy bears a one-to-one relationship with its subject, and the internet/tech hype might be the most powerful gimmick yet in the buzz-thirsty NYC museum world. (Just look at MoMA's Talk To Me, a design show on communication technology sure to bring in foot traffic, with little to no relation to art.)

The answer to the second question, though, is a little more complicated. Producing strong work does some obvious good for a career, but doesn't necessarily result in shows and reviews. Rather, for a myriad of the most sudden art stars, it's more about producing the right work at the right time, and getting that work to the right people. Trecartin and Arcangel benefited from exceptional timing and exceptional support, and in the case of both artists, it's useful to look at the roles of narrative, collaboration, and technology as a means of tracking their success. It's less useful to buy into the kind of thinking that tells us anything we do with our phones and computers is somehow inherently interesting and worthy of artistic exploration.

Let's begin with Cory Arcangel, who by most accounts saw his career take off after his inclusion in the 2004 Whitney Biennial. Nearly every critic mentioned the artist's hacked Super Mario Bros. video game, a projection that removed all the landscape elements from the game, but for the clouds. The response was mixed, but the attention made visible a groundswell of interest in his work that had been percolating for several years.

If no single event or artwork brought Arcangel to this early marker of stardom, what exactly were people responding to? It's hard to say, but part of it had to be the exuberant sense of purpose Arcangel and his crowd brought to digital technology. At the time, many people didn't even know what a browser was, let alone that art could exist on it, but there was a sense that this was changing. A cadre of like-minded artists and curators scattered across the world—Paper Rad, Marcin Ramocki and Lauren Cornell to name a few—were making that shift happen. Part of the allure of Arcangel's video games was that an understanding of cultural context was necessary for people to get the art.

Of course, his early lectures and collaborations also created a lot of word-of-mouth hype. Arcangel's 8-Bit Construction Set, a DJ battle record filled with tracks made with the Atari 800 XL on one side, and the Commodore 64 on the other, made with BEIGE [programming ensemble] (Paul B. Davis, Joe Beuckman, and Joe Bonn), was a clear hit, garnering a large amount of press (and "dopes" from DJ Spooky). So, too, was The Infinite Fill Show at Foxy Production, a brilliantly conceived exhibition inspired by MS Paint software that culled patterned works in black and white. The exhibition included over 80 artists and was curated by Arcangel along with his sister Jamie Arcangel.

Given the strength of the work and number of people Arcangel worked with, it's not surprising his career took off. Indeed, Times critic Holland Cotter, noting this and other collaborative efforts, declared "artist collectives" hot in 2002. Whether or not that was actually the case is debatable—art practice is so diverse I sometimes think any notion of trends is ludicrous—but it did, at least, make people a little more responsive to the fad in question.

In any event, Arcangel was labeled early on as "a talented artist who works with technology." He's since become disconnected from the internet community that once inspired him (the reasons for this shift are unclear—the most anyone can say is that this change began roughly after he joined Team Gallery in 2005), an unfortunate turn of events as this, in combination with his recurring struggles with thyroid cancer, has negatively affected his work. His career opportunities, however, remain intact. Part of this, I suspect, has to do with museums that now see artists working with the internet and social media as an easy way to bring in foot traffic. As an established name, Arcangel might appear, from the outside at least, an easy sell to museums wishing to capitalize on the ubiquity of internet culture.

So who's going to replace Arcangel as the art world's most prophetic voice engaging youth culture and the net? At present, it looks like Ryan Trecartin has received this title, though the relationship his long-form videos have to the internet is much less about technical fluency—Arcangel's strength—than it is about creating a dystopic vision of the present. Put simply, Trecartin doesn't code.

Trecartin's career took off almost immediately after he graduated from RISD, though Peter Schjeldahl cites the New Museum's 2009 Younger Than Jesus show as his tipping point. That juncture seems as good a breakout point as any for an artist whose whole career has basically been one giant tipping point. As told by ArtForum's Dennis Cooper, he was "discovered" when a student at the Cleveland Institute of Art showed a clip of Trecartin's movie "A Family Finds Entertainment" to visiting artist Sue De Beer. He'd found it on Friendster. De Beer then told writer, art advisor, and former New Museum curator Rachel Greene; one thing led to another, and later that year he had a solo show at the Los Angeles's Gallery QED.

Interestingly, unlike with Arcangel, who leans toward a much more populist kind of art making, many find Trecartin's videos nearly impossible to watch for any great length of time. The actors all talk in squeaky, child-like voices, suffer from rotting teeth, and only occasionally make sense. The plot—when it exists—is very hard to follow.

In a way, it's a miracle this work took off at all given these attributes, but "A Family Finds Entertainment" and "I-Be Area" were more narrative than his later films, and that likely helped ease an audience into some of the more difficult work. Also, Trecartin's herd of collaborators helped spread the word. If Warhol's Factory could be reborn, one has the impression that Trecartin's collaborative groups (located in cities across the country from New Orleans to Miami) would be the form it took today.

Of course, it doesn't hurt that Trecartin has produced a remarkably consistent body of work over the last seven years. His aesthetic—or "branding," as the art world is so reluctant to describe it—is so distinct that no viewer can forget the work. Arguably, the earlier work can be more off-the-cuff than the new videos—often the actors were untrained, and everyone was encouraged to ad-lib—but the artist's dexterity with words remains unchanged. "Why aren't you documenting me?," "I party alone!" and personal favorites like, "I hate this piece of wood!" are just a few choice quotes to come out of the early films.

The storylines themselves are bleak: in "A Family Finds Entertainment," a boy named Skippy gets kicked out of his parent's house after revealing his sexual preference, attempts suicide, is run over by a car, and is then saved by a group of flamboyant kids. "I-Be Area" offers a little more optimism with its malfunctioning characters stuck inside a blog space/internet-community/bedroom—eventually they find ways to be creative, so it seems worth the wait.

By the time Trecartin gets to Any Ever, though, it's hard to endure more than thirty minutes at a time (despite an array of comfy seating options for each film ranging from office chairs to beds). "This place is full of rich identity tourists," complains one worker in "K-CoreaINC.K (section a)," a video featuring characters whose jobs seem to be defined by spewing out mutant corporate speak infused with internet jargon. In another video, "Sibling Topics (section a)," Trecartin plays four siblings, one of whom complains, "I'm sick of my outfits coming from default closet." Here, as in many other places, the individual scenes feel more like discrete channels in a larger network.

Perhaps a more Web 2.0 way of looking at the seven-film exhibition is to say that its structure resembles the results of a Google search. There's some linear coherence to the narratives, in the same way one might find structure in a query. It's dominated, however, by style: over-repetition and buzz words (spoken and written) permeate the movies. Add to this broken bed frames, flammable liquids, scissors, cell phones, shattered glass, mirrors and fucked-up makeup and you've got merely the backbone of Trecartin's baroque visual vocabulary. Any Ever thus becomes an ornate version of this search query.

In that sense Trecartin's show may at least reflect the hype that surrounds it: frantic and warped. It does not, however, live up to it. That's not because the movies aren't very good, or don't engage the net, but rather that somewhere along the line, Trecartin's message got lost. It's as if he's contacting his audience to tell them their phonelines are broken and can't be fixed, and we've responded by celebrating the progress communication has brought.

(Images courtesy Cory Arcangel and Team Gallery; Ryan Trecartin and Elizabeth Dee Gallery)

via thelmagazine.com

http://jantervonen.com/inside-the-internet-art-bubble

How To Break Your Daily Caffeine Habit And Use Coffee Strategically

Caffeine seems so simple, even if you're a veteran user. You drink it, you get amped up for a short period, and you inevitably come down a bit when it wears off--or so you think. But caffeine is a more subtle substance than we give it credit for. Knowing how it works on your body and brain, and how it is most effective, can give you an edge at concentrating, while still keeping the jittery edge off.

The best way to get the most from caffeine is to start from scratch. There are a lot of factors that play into how a dose of caffeine affects you, but there's no stronger factor than the tolerance you've developed, morning after morning. Give yourself a week to 10 days to recover, scaling back slowly if necessary, then start fresh with coffee as an occasional, smart pick-me-up.

Note: Biological and genetic factors also play into your caffeine interaction, and it may not be for everybody. This is just a starter's guide for those who want to stop feeling like one cup isn't enough.

Yes, you probably have a caffeine tolerance. Learn to adjust it.

Patients waking up from surgery in which they went under anesthesia often wake up with a killer headache. Doctors used to blame their own knock-out juice, until research showed how effective a post-surgery cup of coffee could be. Most of us are used to having our regular coffee or tea, occasional sodas, and bits of chocolate, but when asked by doctors not to eat or drink anything for long stretches before surgery, then sleeping off the drugs, your body wakes up to a system without any caffeine, and it's a mite unhappy.

Knowing this, and having days or weeks where you know you're going to need reliable energy boosts, try to keep yourself caffeine-neutral and wean yourself from dependency. It takes between a week and 12 days to build up a tolerance and dependency on caffeine (even at just one cup a day), and an average of 10 days to work it off. Once you're past the rough mornings and headaches, you're able to strategically deploy the stuff when you've got a big day ahead and need better attention and memory performance. But keep in mind ...

Caffeine unlocks your potential energy, it doesn't create energy

Stephen R. Braun, author of the excellent explanatory tome Buzz: The Science and Lore of Alcohol and Caffeine, told me in an interview at Lifehacker that caffeine's effects were best described as “taking the chaperones out of a high school dance.” Caffeine does its magic not by directly stimulating your cells, but by being extremely similar to adenosine, a cell by-product that your body monitors as a kind of gauge for exhaustion. Caffeine's molecules plug up your receptors for adenosine, so your body stops getting signals that it's tired.

But if you're running on just a few hours sleep and living off pizza and Clif bars for hours, caffeine will only tweak your behavior a bit, not reinvigorate you. So, it's best to set up an optimal deployment scheme for caffeine. It can't hurt after that near-all-nighter, but it won't be as helpful, either.

Combine naps and caffeine for ultimate midday refreshers

Got 15 minutes and a cup of coffee or tea handy? You'll be glad you do, and that you're keeping yourself from developing that daily tolerance. Because then you'll have access to the “caffeine nap” discovered by U.K. researchers. Drink some coffee fairly quickly (assuming you aren't already buzzing on the stuff), then take a 15-minute nap. That gives your body just enough sleep to feel slightly refreshed, and the caffeine enough time to start taking effect the minute you wake up.

Drink good, seriously de-caffeinated coffee at non-critical times

Now that you're good and caffeine-free, what happens when everybody at the table wants a cup after dinner? What happens when you just want a cup of good coffee, regardless of brain impact? Go with decaf, but go with a “Swiss water” blend that's 99.9 percent free of caffeine.

It might seem a bit severe, but read up on proper decaf making, and realize that other coffee compounds, like GABA, are also impacting your alertness and energy levels, and you'll see the importance of keeping unplanned caffeine away from your fine-tuned system. Spend the time shopping around for good decaf roasts that you'd spend on standard beans. The Swiss Water logo is a good starting point, but not the only conveyor of serious decaffeinated intent.

via fastcompany.com

http://jantervonen.com/how-to-break-your-daily-caffeine-habit-and-us

KIDDO AND HIS DAD

This kiddo could very well be the next supermodel based on her supermodel-type-poses. However, based on the second pic her father doesn't have a clue.

See the full gallery on Posterous

http://jantervonen.com/kiddo-and-his-dad

Four School Buildings That Foster Cutting-Edge Learning

Finland has created schools to meet teaching challenges specific to our modern age.

For the past decade, Finland has churned out some of the top students in the world. The reason: excellent architecture.

Okay, so it’s not the only reason, but it can’t hurt that students practice their multiplication tables ensconced in glittering, light-soaked buildings that could out-swank most corporate offices. “Learning is invariably influenced by the environment in which it takes place,” the Museum of Finnish Architecture in Helsinki writes on its website. To show it, they’ve mounted an exhibition about the nation’s best and brightest new school architecture.

The show lasers in on seven schools (four of which are pictured above) built between 2001 and 2010. Among them: a timber-clad nursery and primary school set among the open fields of rural Finland; an elementary school in an old machine engineering workshop that the principal helped design; and a devastatingly hip school for kids 7 to 15, complete with a loft-like communal area and yellow Panton chairs.

The buildings are more than just shiny vessels, though. They're designed to foster new learning methods that favor flexibility and experimentation over the strict, autocratic educational style of yore. Layouts feature a litany of spaces: homerooms, small-group settings, workshop rooms, designated zones for autonomous work, and schoolwide communal areas. And, of course, they incorporate hallmarks of Scandinavian design like warm colors, durable materials, spaciousness, and tons of sunlight. In the end, it’s not especially ground-breaking stuff, just common sense. So what’s America waiting for? Oh, right. Social democracy.

[Images courtesy of the Museum of Finnish Architecture]

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http://jantervonen.com/four-school-buildings-that-foster-cutting-edg

As time goes by

http://jantervonen.com/as-time-goes-by

This Amazon Tribe could've been slaughtered by drug traffickers!

Brazil's National Indian Foundation says a guard post protecting the country's recently discovered, uncontacted Amazon tribe was overrun by heavily armed men believed to be Peruvian drug traffickers. The tribe gained world wide attention after airplanes took aerial footage of the estimated 200 person group in February. The foundation told AP that the outpost was attacked late in July by what they belive were drug traffickers from Peru that chased away members of the isolated tribe living in the area. The aid group Survival International reports that foundation workers found one of the traffickers 'rucksaks' or backpacks with a broken tribal arrow inside. "Arrows are like the identity card of uncontacted Indians. We think the Peruvians made the Indians flee. Now we have good proof. We are more worried than ever. This situation could be one of the biggest blows we have ever seen in the protection of uncontacted Indians in recent decades. It’s a catastrophe," Carlos Travassos, the head of the Brazilian government’s isolated Indians department, said to Survival International. Police have also found a 20kg cocaine package near the tribe and are in the Amazon searching for remaining drug traffickers in the area, according to the Survival International report released Monday.

via huffingtonpost.com

http://jantervonen.com/this-amazon-tribe-couldve-been-slaughtered-by

A New Film Animates Ken Kesey's Very First Acid Trip

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A New Film Animates Ken Kesey's Very First Acid Trip [Videos]

Rather than just rely on stoners talking about being high, Oscar-winning director Alex Gibney tapped Imaginary Forces for animations. Co.Design has exclusive videos about the project.

The directors of Magic Trip, a documentary opening today that details the legendary 1964 road trip by Ken Kesey, author of One Flew Over the Cuckoo's Nest, faced a conundrum familiar to anyone trying to depict hallucinogenic, out-of-your-mind visuals on film: how to create an immersive, credible rendition of the psychedelic experience without, you know, having to actually melt some poor sap’s face off.

So the film’s co-director Alex Gibney, who helmed previous documentaries on countercultural heroes like Hunter S. Thompson and Jimi Hendrix and who won an Academy Award for his film Taxi to the Dark Side in 2007, decided to hire creative studio and production house Imaginary Forces to create such an immersive experience, and together they decided that using 1960s-style crude visual techniques would be the most organic solution possible. But the point wasn't to arrive at the tie-dyed psychedelia of Wavy Gravy.

"We didn't want all those purple elephants and stuff from the late 1960s," says Karin Fong, of Imaginary Forces. "That's where things went, but the aesthetic didn't start there." Instead, her team focused on art references from the early 1960's, when Kesey was tripping out -- a Mad Men era where Stan Brackhage was experimenting with scratching and painting directly onto celluloid and Robert Rauschenberg was creating his seminal collages. An additional reference point were Kesey's later jail journals, which he filled with obsessive, fine-lined doodles. The motion graphics, therefore, aren't computer-generated: They're all hand-drawn, but were composited digitally.

One clip in particular stands out: Gibney uncovered audio tapes of Kesey recounting an acid trip he experienced in 1960 at a Veteran’s Hospital in Menlo Park. The Imaginary Forces team then took that audio and gave it visual form, expanded on Kesey’s description of the environment--the hospital bed, a glass of water, a wall clock, and a Wollensak tape recorder and microphone--with overlaid expanding and contracting text, Brakhage-styled color blots and film scratches, geometric sketchings, and sequenced spin art. It’s a four-minute time warp that gets successively more bizarre as Kesey narrates his hallucinations: a frog-man outside his room, visions of bats and eggs and mummies and strobe lights, and the Wollensak microphone slowly turning into an electric shaver.

In the exclusive video below, Gibney and Karin Fong, Imaginary Forces creative director, discuss how they concocted a “visual language” that could realize the experience of someone, as Fong puts it, “getting high as a kite.”

http://jantervonen.com/a-new-film-animates-ken-keseys-very-first-aci