The Psychotronic Man

It was almost worth watching the entire 80 minutes of the 1980 low-budget stinker The Psychotronic Man (namesake of psychotronic films and GIFs) just to read this IMDb review:

Peter Spelson's "The Psychotronic Man" is a tour de force of naive post-intelligentsia film noir. Jack M. Sell directs seemingly endless, artlessly blocked scenes that draw the audience into a twilight mood of almost painful ennui. Truly, even before the opening title graphics crawled across the screen some seven minutes (significant?) into the first reel this reviewer craved the blissful relief of an untimely death before the next zoom-in close-up of Peter Spelson's heavily lidded psychotronic stare! Spelson turns in an idiosyncratic performance as Rocky Foscoe, the barber who prefers his hair tonic to Seagrams Seven. Spelson's Rocky is a tortured soul who has trouble putting together a simple sentence, much unlike the real-life erstwhile insurance agent turned one-time film actor who frankly has never been known to shut up! "The Psychotronic Man" can be favorably compared to the seminal works of Kurasawa or a young Hitchcock only if one suspends all rational thought and gives over to a delusional view of a world where a film such as this can be considered anything more than bong water worthy.


Featuring an insurance agent-turned-actor, a guerrilla film making style, authentic retro '70's soundtrack and a back-story that just won't die, the experience of "The Psychotronic Man" is truly a total greater than the sum of its parts.

commodify this

A recent Facebook thread on Jennifer Chan's net art commodification essay mentioned a post I did.

Warm regards to the folks who put in a good word or otherwise defended my absent self.

Three points (slurs) should be answered:

1. Bemoaning a 45 page article on internet art commodification is not "resisting commodification." I sell artwork, including video and "net-based work." Possibly I don't do it loudly or ironically enough.

2. If preferring the early blogosphere (a brief, diffuse happy accident) to the current corporate silos is clinging to a digital utopia, then guilty. Otherwise my artist statement of the last 12 years conveys more or less the opposite. My understanding from a talk Olia Lialina gave was that she, too, thought the "old web" was stupid; just stupid in a different way. I love how certain millennials think they have a lock on cynicism.

3. For the last six months, I haven't "debated" anyone over 26, we're told, and that's bad. The staff of certain art & technology websites will be very flattered to hear they don't look a day over that age.

Now awaiting the emails giving me friendly advice not to "lash out" at my detractors "like a wounded animal."