Methods of Negotiation - Closing Reception - St Celfer from Art Music Lit Space on Vimeo.

Art Music Lit Space is a post-post-internet virtual community seeking to "probe the chasm together so suddenly imposed by social distancing measures" by providing a "locus for artists, curators, writers, lookers, listeners, feelers and thinkers to show, share, and connect despite the nearly global closure of physical exhibition spaces such as studios, galleries, basements, museums, schools, art fairs, fields, etc."

The performance of St Celfer's musical piece "March of the Covids" (featured on our recent collaboration and on St Celfer's Bandcamp page) was realized (or rather, virtualized) by Art Music Lit Space as an embedded sound clip on a blog page; the Vimeo above is more in the nature of post-show documentation.

When the music was performed last week in Austin (described in an earlier post) it was displayed as a YouTube video with an abstract video component (and encoded bonus content for YouTube users), on multiple large screen monitors with speakers behind each screen.

"Post-post-internet" is a joke, of course. "Post-internet" was a brief, curator-driven quasi-movement that dealt with art-with-internet-content being shown in galleries. It was a bizarre name because of course the internet never ended and in fact most gallery activity didn't exist in people's consciousnesses until it appeared there. Covid simply takes the gallery out of the loop. Yet, as we saw in Austin, some physical spaces still exist (and in Austin they had about twenty mask-wearing visitors). Once I have documentation of people walking around the room while the video plays, I'll post it, and that will be the so-called post-internet manifestation. [Update: Some documentation of the event is here.]

Screenshot from seacrestcheadle music video To Rococo Rot + D - A Day Long [YouTube]
A dead horse canters around a spectrally tinted liminal space (Sisyphean bardo loop for equestrians?).
Seacrestcheadle says the video exploits some happy accidental feedback between tv and webcam (not an exact quote).

camp (as in artistic movements, workshops)
cloud (Silicon Valley Saurons sucking your data)

Work by a couple of band(width) campers worth checking out:

Disconnector's release Resistor (minimal electro beats); sample track: a11
RP Boo's release I'll Tell You What! (Chicago footwork)

See also Seacrestcheadle's fan video [vimeo] of RP Boo's song Wicked'Bu, from that release.

Have been enjoying Spudoogle's twitter account recently but still have a problem with the way the SVS (Silicon Valley scum) appropriated GIFs to their commercial platforms. It's like in the movie Barton Fink where the cigar-smoking producer tells the East Coast populist playwright he wants "movies with that 'Barton Fink' feeling," then later says "get out of my office, I can get 100 writers who can give me that 'Barton Fink' feeling."
One imagines an SVS getting a neck massage and saying, "we need something like those GIF things the kids are exchanging." And then the tech slaves come up with a typical, locked-in proprietary video format with the word "GIF" superimposed. 100 guys can give them that animated GIF feeling.

It's not spudoogle's fault, he accepts conditions the way they are and rolls with the shoddy resizing, rounded edges, and fake labeling. That's twitter's price for providing an audience for your GIFs.

Travis Hallenbeck tweeted: "my set in Pittsburgh was described by the organizer as like being stuck in an office"

On the other hand, it was kind of refreshing not seeing an Apple laptop or a rack of modular gear. These not-quite-ancient MIDI devices have their own unique sound and seem to have their own mind. Hallenbeck treats them like a flock of erratic sheep, letting them go where they will and savoring their little bleeps and hums as events in themselves. The caretaker approach to (dis)organized sound.

As I have mentioned a few times, my latest music release is available as an audio cassette.

Cassettes are such a novelty at this point that a demo of what to do with one might come in handy!
Thanks to Rene Ae for providing this.

Here's a homemade clip of the end credits of Godzilla: Final Wars.
This could be Jean-Luc Godard doing Leni Riefenstahl, as interpreted by Junior in his mom's basement, using a phone to film a laptop. As the camera shakes and struggles to stay centered (difficult when filming widescreen in "extreme portrait" mode), Mom can be heard off camera yelling at Junior to pay attention to her.
The credits are a series of "money shot" clips of monsters flying, fighting, and screaming in rage, close-ups of anxious human faces (that you saw earlier in the movie), people fighting in space suits, and choreographed explosions.
This exciting montage (rolled over by credit-text) is accompanied by a rather haunting symphonic synthesizer score by prog rock titan Keith Emerson. (He said in an interview that only a portion of the music he wrote for the film was used, but this is intact, apparently.) The scale-climbing classical crescendos, in an earlier era, might be written with the same intensity by a composer such as Tchaikovsky to commemorate a major battle. The sound quality on Junior's phone is good enough to pick up most of the musical bravado while the action mayhem is being savored.

Godzilla: Final Wars (2004) is an almost note-perfect continuation of the '60s Japanese monster tradition of Destroy All Monsters. There's almost nothing in it to tell you it wasn't made in 1968.

YouTube by Rene Ae

1000 organic views by year end, let's do it.

Also, thanks to Robert Fripp Fan for the tweet, and those who bought and/or made nice comments on the LP. Cassettes are mailing soon.