Frank Talking #3 (2010, 278MB, 10:01 min)
Latest instalment in Edward Picot’s Dr Hairy saga which feels like
a weird amalgam of Oliver Postgate, soap and Carry On.
It’s interesting to observe how bold, deft & convincing Picot has become with the lo-fi
techniques he deploys in these and, furthermore, how engaging the actual
narrative is.
Great stuff!
2010 Clip Arts (2010, 20MB, 3:21 min)
Stunningly executed, but, for me at least, somewhat vacuous
sequel to his 787 Clip Arts of 2006.
From oliverlaric.com
Over The Edge (2010, 49MB, 1:37 min)
Alan Dojoji Pushes Fau Ferdinand in the Water because
She’s not Paying Him any ATTENTION!
so the story will be about I’m trying DESPERATELY TO GET YOUR ATTENTION,
but you’re ignoring me because you’re away or sleeping or not watching the
terrific goings-on in OpenSim so I sneak up on you (because you’re not
looking) and push you into the water which is very difficult because
pushing avatars requires the greatest skill, making sure that the pusher
is right behind the pushee, otherwise the pushee escapes, so you’re pushed
into the water and just as you’re falling you wake up and type “UOY” which
can only mean it’s a backwards world, and then we’re both in the water and
I’m dancing furiously and AGAIN YOU’RE PAYING NO ATTENTION!
Alan Sondheim
Touch Me (2011, 562KB , 2:00 min)
Hear Me (2011, 12MB, 1:11 min)
Second two parts of TOM (an instrumental rock opera remix in four parts)
by Curt Cloninger, of which we posted the first two last week.
Mathematics (2010, 163MB, 10:40 min)
There’s a wonderful deadpan quality to this piece from Chris Caines,
which captures dream logic perfectly (and satisfyingly –
I was worried about bathos and I needn’t have.)
It looks and sounds rather sumptuous too.
I do wonder if it couldn’t have moved just a tad quicker…
Mutant #2 (2010, 64MB, 4:04 min)
Annie Abrahams is a singular and compelling voice, her singularity
ironically copper-bottomed by her willingness to embrace the network
& collaboration thereon fearlessly, inquisitively and to always
striking effect. This piece is described as a video arising out of
the second session of a
“Telematic Performance / Experiment investigating communication and
relational dynamics in a dispersed group.”
and it’s bewitching.
The pages documenting it bear the motto
“Communication is never clean, smooth and transparent”
True – and to turn that truth into crystalline & affecting art is a little miracle.
Ethernet Orchestra on FBi Radio (2010, 92MB, 11:48 min)
More from the splendid Ethernet Orchestra with:
in Sydney, Australia – Roger Mills (Processed Trumpets), Bukhchuluun Ganburged (Mongolian Horse fiddle and throat singing) and Yavuz Uydu (Turkish Oud and Bendir)
in Londrina, Brazil – Chris Vine (Guitar)
and in Braunschweig, Germany – Martin Slawig (Laptop Electronics and Max/MSP processing).
All of it great, though I’m particularly a sucker for the throat singing.
Feel Me (2011, 11MB, 1:03 min)
Two parts of a rather good new work –
TOM (an instrumental rock opera remix in four parts)
by Curt Cloninger, of whom we are fans.
He remixes the 1975 film of the Who’s rock opera Tommy to striking effect.
I can’t imagine crossing the road to see the original, even for free, but
here Curt’s sense of beauty, drama and balance – which have served him
well in a number of works and projects involving remix/appropriation, notably
his fantastic playdamage project –
redeem banality to something genuinely affecting.
More next week.
Curse Her Black Heart (2010, 137MB, 4:24 min)
Chris Laxton’s creative deployment of a turntable & nice fractal images…
At Winter Equinox We Burn the Sun (2010, 37MB, 3:48 min)
And by way of wishing a Happy New Year to all, here’s a tremendous piece from my friends
Marc Garrett & Ruth Catlow, the movers behind the indispensable Furtherfield.org & the Netbehaviour list.
Here they ritually burn a copy of the evil Murdoch’s UK organ The Sun & accompany this
with music both apposite and well executed.
I think this is shot very well. I don’t mean in a boring technical sense – who gives a? –
but that it is utterly alive, especially those beautiful final, almost vertical, shots.
There’s a delicious play here too on folkishness which treads a fine line in avoiding
being itself folksy.
Further – here’s a practical demonstration of how political art doesn’t have to
be dour or ploddingly earnest and indeed can summon a visceral beauty.
There’s a dialogue (or, perhaps better, an argument) between this celebration of the beauty
of the world, betokened in this scene and what passes therein, and the real ugliness and
anti-humanity of the paper and its contents.
Great Great Great.
