When I say, 'I'll see you on the dark side of the moon'... what I mean [is] ... If you feel that you're the only one ... that you seem crazy [because] you think everything is crazy, you're not alone. – Waters, quoted in Harris, 2005

Marked by Waters' philosophical lyrics, Rolling Stone described Pink Floyd as "purveyors of a distinctively dark vision". Author Jere O'Neill Surber wrote: "their interests are truth and illusion, life and death, time and space, causality and chance, compassion and indifference." Waters identified empathy as a central theme in the lyrics of Pink Floyd. Author George Reisch described Meddle 's psychedelic opus, "Echoes", as "built around the core idea of genuine communication, sympathy, and collaboration with others." Despite having been labeled "the gloomiest man in rock", author Deena Weinstein described Waters as an existentialist, dismissing the unfavourable moniker as the result of misinterpretation by music critics.

RED is an American action comedy film inspired by the limited comic book series of the same name created by Warren Ellis and Cully Hamner and published by the DC Comics imprint Homage. The film stars Bruce Willis, Morgan Freeman, John Malkovich, Mary-Louise Parker, Helen Mirren, and Karl Urban with German film director Robert Schwentke directing a screenplay by Jon Hoeber and Erich Hoeber. In the film version, the title is derived from the designation of former C.I.A. Agent Frank Moses (Bruce Willis), meaning Retired, Extremely Dangerous

Frank: Look, I'm retired, okay? I'm happy. We're happy.
Marvin: Frank... Frank, you haven't killed anybody in months!!!
Frank: That is not a bad thing. Okay? That's a positive thing for a lot of people.

Manhattan is a 1979 American romantic comedy-drama film directed by Woody Allen from his screenplay co-written with Marshall Brickman and produced by Charles H. Joffe.

Manhattan was filmed in black-and-white and 2.35:1 widescreen. The decision to shoot in black and white was to give New York City a "great look." The film also features music composed by George Gershwin, including Rhapsody in Blue, which inspired the idea behind the film.

All titles of the soundtrack were compositions by George Gershwin. According to Allen, the idea for Manhattan originated from his love of Gershwin's music. He was listening to one of the composer's albums of overtures and thought, "this would be a beautiful thing to make ... a movie in black and white ... a romantic movie". Allen has said that Manhattan was "like a mixture of what I was trying to do with Annie Hall and Interiors". He also said that his film deals with the problem of people trying to live a decent existence in an essentially junk-obsessed contemporary culture without selling out, admitting that he himself could conceive of giving away all of his "possessions to charity and living in much more modest circumstances", adding that he has "rationalized [his] way out of it so far, but [he] could conceive of doing it"

For it is a colour of mystery - have we not all asked 'why is the sky blue?' To science, the sky was a puzzle and a challenge, not least for Horace-Bénédict de Saussure

He measured all he could, and when he couldn't measure it, he designed new instruments to do so. He invented a fast and sensitive horsehair hygrometer, a magnetometer, and an anemometer. He was among the first to establish the atmospheric lapse rate - the temperature drop as a function of altitude. To investigate the mechanism of the heating of the atmosphere by the sun, he developed a heliothermometer - a thermometer in a blackened box with which he could measure the intensity of the sun's rays by comparison with another hung in the open.

Armed with his tools and a small chemistry set, he trekked round the valleys and beyond. As his trips carried him ever higher, he puzzled about the colour of the sky. Local legend had it that if one climbed high enough it turned black and one would see, or even fall into, the void - such terrors kept ordinary men away from the peaks. But to Saussure, the blue colour was an optical effect. And because on some days the blue of the sky faded imperceptibly into the white of the clouds, Saussure concluded that the colour must indicate its moisture content.

But how to measure 'blueness'? Using suspensions of Prussian blue, Saussure dyed paper squares every shade of blue he could distinguish between white and black. These were assembled into a numbered colour circle that could be held up to the zenith at a standard distance from the eye - the matching square established the degree of blue.

In 1786 two Chamonix guides, Jacques Balmat and Michel-Gabriel Paccard, announced that they had climbed Mont Blanc. If he was disappointed at missing out, Saussure let it pass. He hired them the next summer for a scientific expedition to the top. With a servant and 18 guides to lug his equipment, he set out, reaching the summit in 3 days. It was a thrilling moment - breathlessly, he measured everything he could, including the colour of the sky - the deepest he'd ever seen at 39 degrees blue. After 3 hours they headed down, his obsession with Mont Blanc fading. He would return the next summer for a week of measurements on the nearby Col du Géant, while his son and a friend did the same in the valley below and in Geneva. It was the dawn of coordinated, quantitative meteorology.

Olafur Eliasson, a 41-year-old Danish-Icelandic artist who lives in Copenhagen, works in Berlin, and currently has a retrospective at the Museum of Modern Art and P.S. 1, speaks four languages fluently but not flawlessly. For an artist whose work has required astonishing perseverance in the face of mind-numbing bureaucracy, he is a surprisingly gentle guy, with odd edges and catholic tastes. (He loves electronica and bluegrass, and brags he can play three versions of Kris Kristofferson’s “Me and Bobby McGee.”) Many of his best-known works explore architecture and the mechanics of perception, almost as if the fantastical imaginings of Buckminster Fuller were reinterpreted by a cognitive scientist. Eliasson’s work is most compelling, however, in its visceral embrace of beauty and wonder, prompting the kinds of basic questions that most of us stopped asking when we were 7 years old. “It’s so weird how the helicopters actually can take off,” he says as we hit the confluence of the Hudson and East Rivers, Wall Street choppers buzzing overhead. “It always puzzles me. It’s like an insect.”

The waterfalls, he hopes, will provoke New Yorkers to raise similar questions about something we habitually ignore. “You take the water around Manhattan for granted,” Eliasson says as our boat traces the landscape of the harbor. To help restore our sense of engagement with that landscape, he wants “to make water explicit.” It’s a phrase he often employs. “Falling water, it makes a sound, it engages a whole different range of senses. You see gravity. To make it explicit is to take it, hold it up, and let it fall.”

Painted in August 1871, this is the first of Whistler's Nocturnes. In these works James Abbott McNeill Whistler aimed to convey a sense of the beauty and tranquility of the Thames by night. It was Frederick Leyland who first used the name 'nocturne' to describe Whistler's moonlit scenes. It aptly suggests the notion of a night scene, but with musical associations. The expression was quickly adopted by Whistler, who later explained, By using the word 'nocturne' I wished to indicate an artistic interest alone, divesting the picture of any outside anecdotal interest which might have been otherwise attached to it. A nocturne is an arrangement of line, form and colour first'[Nocturne: Blue and Silver - Chelsea 1871, Tate Gallery, London]

In 1959, jazz trumpeter Miles Davis assembled his ideal sextet. Using simple musical scales, instead of the complex harmonic progressions of their contemporaries, they attempted, in five mesmeric and introspective tracks, to redefine an art form and capture the essence of all that was blue.

Kind of Blue is regarded by many writers and music critics alike as the greatest jazz album of all time. In 1994, the album was ranked number one in Colin Larkin's Top 100 Jazz Albums. Larkin described it as the greatest jazz album in the world. It has been ranked at or near the top of numerous 'best album' lists in disparate genres. In 2002, Kind of Blue was one of 50 recordings chosen that year by the Library of Congress to be added to the National Recording Registry. In selecting the album as number 12 on its 2003 list of the 500 greatest albums of all time, Rolling Stone magazine stated This painterly masterpiece is one of the most important, influential and popular albums in jazz. On December 16, 2009, the United States House of Representatives passed a resolution honouring the fiftieth anniversary of Kind of Blue and reaffirming jazz as a national treasure. It is included in the 2005 book 1001 Albums You Must Hear Before You Die, described by reviewer Seth Jacobson as a genre-defining moment in twentieth-century music, period.

Kind of Blue isn't merely an artistic highlight for Miles Davis, it's an album that towers above its peers, a record generally considered as the definitive jazz album, a universally acknowledged standard of excellence. Why does Kind of Blue possess such a mystique? Perhaps because this music never flaunts its genius... It's the pinnacle of modal jazz – tonality and solos build from the overall key, not chord changes, giving the music a subtly shifting quality... It may be a stretch to say that if you don't like Kind of Blue, you don't like jazz – but it's hard to imagine it as anything other than a cornerstone of any jazz collection. – Stephen T. Erlewine