Posts tagged video
The Past Re-Imagined as the Future: Remix Contest with Prelinger Archives
WFMU and the Free Music Archive is conducting a video remix contest called “Sound for the Moving Image: The Past Re-imagined As The Future.” The contest invites artists everywhere to mix video from the Prelinger Archives Collection with audio from the Free Music Archive to create new masterpieces for the commons. The point of this contest is to showcase the creative possibilities and potential of open digital libraries.
San Franciscans Experience East Coast Thunderstorm
Just a regular old East Coast thunderboomer and light show (trust this is regular summer stuff in the Midwest and on the East Coast.) with humorous reactions from the fine folks of Fecal Face. Wha’ no tornado sirens?!!!
David Lynch Crazy Clown Time - Filmmaker David Lynch directed the video for his own track Crazy Clown Time, and describes it as “an intense psychotic backyard craziness, fueled by boobs, beer and burning hairdoos”…
SuperMario Sleeping (With Butterflies), 1997 an Art Machinima movie by Miltos Manetas. It is made with SuperMario for Nintendo 64 and it was first shown at the exhibition Fatto in Italia ,(Made in Italy), at the ICA, in London, 1997. The artist talks with Mathias Jansson guest arts writer on the Art21 blog in the article: Artistic Machinima and Britney Spears’s Pink Mansion. Manetas discusses Machinima, his influences and using Michael Jackson and Britney Spears in his pieces.
Raymond Pettibon inspired Red Hot Chili Peppers Video - Directed by Marc Klasfeld; not that anything can ever beat the Sonic Youth Cover for Goo.
MGMT All We Ever Wanted Was Everything (Bauhaus Cover) - From their upcoming Late Night Tales collection series. The Awl has more.
S.C.U.M. - Amber Hands, Sonic Boom Remix (Broken Video): Images from Alan Clarke’s “Scum”, banned by the BBC in 1977.
Vagina Vangi - Christ
Making Word: Ryan Trecartin as Poet
“Pronouns are a battlefield. “IT is not |You|„, IT IS WE!” NAK announces. “IT is not |em| and>/ Will not matter as Such.” On the next page she says: “The New Look for This Company, IS re-Thinking the Word |Humanity| as an Object with a (Goal).” Trecartin’s use of corporate jargon brings the concrete back to “corporation,” a word that abstracts the corporeal. Dialogue is propelled by confrontations between voices of a single entity (i.e., the Koreas) and others, whose names convey difference in terms of human-resource hierarchies. A Driver—listed in the dramatis personae as “Pay Role: (2): Driver, Wait”—offers unsolicited business advice: “[…] Focus on finding REAL Consumer Demand„/ For Cross-Over-Culture„„„ ?/ And Time-Shared-Ideologies ?” The suggestion is soundly rejected by Global Korea and her affiliates. He’s just a hireling, and his vision of crossovers and time-shares is too generous, too loose. There’s also an intern—“illegal outsider re-useable friend (prop)”—who goes by Jessica until USA Korea decides she’s Cindy. Either way, she’s no K. Interns are promiscuous, commingling with the corporate body for a limited time, unpaid. “Contemporary Slut!” Mexico Korea rages at Jessica/Cindy. “Every Body’s’ Got the Agenda!”
Robert Breer (1926–2011) Featured: Robert Breer - 69 (1968) - “Born in Detroit in 1926, Breer move to Paris as a G.I. in the late 1940s, where he eventually settled and became acquainted with various figures of the European and American art and film worlds. His early work as a painter influenced his work in film, which he became involved with circa 1952. Breer’s interest in kineticism suffused many of his later works as well, from his handmade, hand-cranked mutoscopes to his “Floats,” motorized geometric forms that would move slowly around a space, changing direction when they collided with one another.” (AF)
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