Archive for July, 2013
"Wah Wah Champ" [3.8 MB .mp3]
Fun with my new arpeggiator(s).
"Woodchipper Gardens" [6.4 MB .mp3]
Playing around with some new software, not that this is a radical departure.
Some of my animated GIF work was discussed in the German magazine Springerin.
Franz Thalmair wrote, in part (English translation):
Animated GIFs treat every single frame as a level within one and the same image. When producing animated GIFs, a display time is defined for each image, with one frame either entirely replacing the next or being superimposed upon it. The sequence is generally presented as an endless loop.
The visual language of animated GIFs, which Olia Lialina and Dragan Espenschied describe as "digital folklore" or "demotic Web" arises out of a bewildering mixture of "online-amateur culture, digital DIY electronics, dirtstyle, typo-nihilism, memes, teapots, penis enlargements." Take a look at OptiDisc and Double Double Centrifuge, two of the numerous works by Tom Moody circulated on the Web, and the function of animated GIFs in an artistic context becomes clearer. OptiDisc is made up of 18 individual frames and depicts ten red ellipses arranged concentrically; the animation makes them turn blue, with the colour moving from the inside to the outside and back to the centre again, whilst the spaces between them become filled with black in a counterpoised – and equally pulsating – movement. In contrast, the animated GIFs in Double Double Centrifuge are made up of only eight individual images, but here we find two double centrifuges arranged parallel to each other, and creating a moiré effect with a range of grey tones and various surface textures as they rotate on their own axis. The type of phenomena we usually find annoying when surfing – a permanently flickering background image, a rotating globe when a commercial firm wants to depict its global network, or body parts that grow and shrink to promote an advertising promise of two more centimetres – are presented by Tom Moody as contemplative elements and associated with the work on framing to be found in experimental film, the psychological framework of Op-Art or scientific visualisation methods – in other words, with the visual language of Modernism.
Numerous art practices today repeatedly confront viewers with the conditions of their own perception, in a fashion comparable to the non-linear movement of a loop. One of the aspects responsible for this is repetition, which also enters into play in animated GIFs through their presentation as an endless loop, and provides a vector to articulate political demands. This persistence in an endless loop and interruption of the quotidian chain of perception arising from patterns of repetition is, as Diedrich Diederichsen notes, "not a disappointing process because it leads back to its own beginning. It is the same thing, experienced at least twice by me. It is objectively the same and hence it is a possibility to observe the changes in my experiencing subjectivity, to have a second-order experience of change" – and hence to distance oneself from the normative classification criteria of everyday life.
PDF of the German version (very happy with this design -- screenshots of the PDF are above)
IMDb has a couple of popular "worst director" lists:
These emanate from Tinseltown nerds who follow current schlockmeisters very carefully (most mortals would be hard-pressed to name 100 directors period).
And while it's gratifying to see Zack Snyder (Watchmen) and Antoine Fuqua (Training Day) getting their due, the validity of both lists is severely compromised by the absence of:
Peter Hyams (Outland, 2010, Relic, End of Days)
Joel Schumacher (The Lost Boys, Flatliners, Batman and Robin, 8MM)
Fifteen years ago these bulletproof hacks would have topped any Hollywood worst list. You couldn't escape them. Happily, being prolific, inevitable and "made" is no assurance you won't be forgotten -- new juggernauts of awfulness will roll over you.
Afterthought: Complaining about the absence of Peter Berg from both lists would mean admitting that you actually saw Battleship.
hat tip blingscience
apologies to stephanie davidson for messing with her day job work -- this had to be done
am not post-studio -- although studio visits are admittedly quaint
also, pop art is not dead
ink and watercolor (or acrylic or gouache)
8 1/2 x 11 inches
Harlan Ellison loves to quote Sturgeon's Law that 90% of everything is crap. Mental Floss (a magazine of "fun facts" that surely belongs in that percentile) dug up what it claims is the source of the actual quote:
Science fiction author Theodore Sturgeon wrote a defense of sci-fi* in the March 1958 issue of the sci-fi* magazine Venture. He wrote, in part...
I repeat Sturgeon’s Revelation, which was wrung out of me after twenty years of wearying defense of science fiction against attacks of people who used the worst examples of the field for ammunition, and whose conclusion was that ninety percent of SF is crud. Using the same standards that categorize 90% of science fiction as trash, crud, or crap, it can be argued that 90% of film, literature, consumer goods, etc. are crap. In other words, the claim (or fact) that 90% of science fiction is crap is ultimately uninformative, because science fiction conforms to the same trends of quality as all other art forms.
*The true heads of the '50s and '60s called it "sf," loathed "sci-fi" as trivializing, and must have vomited over "SyFy." Mental Floss claims (without source) that Sturgeon was the model for Kurt Vonnegut's Kilgore Trout, which is pretty cruel if there's a shred of truth to it. Sturgeon being one of the writers who helped raise sf out of its literary ghetto, not through ukases such as the above but through superlative writing, without ever abandoning the field that also gave us Vonnegut. Have always assumed that Trout was an avatar of Vonnegut's self-loathing and will continue to think it, with or without Mental Flossing.
The most devastating critique of sf to me is that it's "men's literature" in the same way Harlequin romances and other bodice-rippers are women's.