Hey there. Its been a couple of years, but a new blog is on the way. Non-stop music reviews and posts. The site will be up soon, so check back frequently. In the meantime, check out my DJ collective on Facebook: Elechronic.
http://www.facebook.com/pages/Milwaukee-WI/Elechronic/109856980784
Hope to see you soon!
Death By Stereo
Wednesday, January 27, 2010
Wednesday, April 4, 2007
I bet you're dog isn't this behaved!
Selected Viewing: Selected Works Reel 6 by William Wegman [1975-1976, 19:38, ]
William Wegman is one-of-a-kind! Of the numerous viewings that I've seen of his, Two Dogs and a Ball, Drinking Milk (which we didn't view in class but is my personal Wegman fav), and Dog Biscuit in a Glass Jar stood out the most for me. The first two have a charming sense of care and warmth to them. I can feel the amount of love and fun that Wegman has with his dogs (I am assuming that Wegman used Man Ray and Fay Ray for the Two Dogs and a Ball segment). I've talked with other people about the videos and most replies range in the "These aren't films, but more of home videos," area. I can see why someone would create this notion but I see a much richer piece of work.
Two Dogs and a Ball (I don't think this is the real title due to what I've seen on Wegman's website) encapsulates the essence of what its like to own a dog. I could see Wegman really enjoying making this video. Two dogs sit in front of a camera while an unidentified object moves around the room. The object seems of great interest to the dogs, which in turn makes the audiences interest grow as well. My favorite part is when the dogs are looking backward and both turn their heads simultaneously in opposite directions at the same time in confusion or anticipation. It kills me every time. At the end, the audience is shown that the object of fascination is... a ball.
In Dog Biscuit in Glass Jar, the purpose is to watch this dog try to get a dog treat out of a glass jar. The bottle keeps sliding around as the dog paws at it, and the dog even attempts to pick the glass up with its mouth. The first time a watched this video, I remember thinking to myself "What if the bottle breaks, and the dog stabs itself in the face on the broken shards?" Sure enough the glass does break, and for a split second you see Wegman shift (the camera shifts) to go to the dog, but stops short. Does he entrust that the dog is smart enough not to hurt itself? I know its not from a lack of caring. Maybe he doesn't do anything because his project would be wasted? Regardless, there is a scene where the dog sticks his nose into the broken bottle, and it creeps me out. You don't need to know that, but it does.
I mentioned earlier another favorite of Wegman's videos as Drinking Milk. If you haven't seen it, check it out. The premise is confusing so keep with me. It involves... a dog... drinking milk... from a glass! Pure brilliance and quite funny! Again, if you can find it, check it out.
Check out William Wegman's website at www.williamwegman.com
The image you see at the top was stolen fair and square fromWegman's Website. It is a still taken from the Trio video, and can be viewed here or you can go to Wegman's website and check out his video section.
Currently listening to Iggy and the Stooges - I Wanna Be Your Dog.
Now, let me off my boxx.
Soap
The Importance of Fake Blocking
Thursday by Leighton Pierce [1991, 4.5 min, color]
Leighton Pierce's Thursday plays with light, color patterns and texture. Most shots take place indoors looking outside except a series of clips of a wall with shadows of a tree's leaves and branches from behind the camera. The camera is also over-exposed so the light from the sun gives the shot a dream-like feel.
Pierce could have been influenced by his new found captivity of parenthood. The scenes that involve the way light is affected visually (i.e. the light patterns formed from blinds and the different textures that are produced when light is shown through glass) creates a feeling of seclusion and capivity. Even when the viewer is brought outside the house, the viewer stares at a wall and the shadow that is cast upon it.
I can assume that Pierce loves being a parent, but watching Thursday gives me a feeling that Pierce feels a little trapped. Even with his light-hearted editing, the intense warm that is given from the sunlight in the film, and a fun soundtrack (compiled mainly of the sounds emitted by Pierce, the outside noise of children and leaves rustling, and a coffee cup being placed on a table) I can't help but feel Pierce wishes to be somewhere else.
For more information on Leighton Pierce, check out his website at www.leightonpierce.com.
Current Music Selection: Lightening Bolt - Wonderful Rainbow
Now, let me off my boxx.
Soap
Leighton Pierce's Thursday plays with light, color patterns and texture. Most shots take place indoors looking outside except a series of clips of a wall with shadows of a tree's leaves and branches from behind the camera. The camera is also over-exposed so the light from the sun gives the shot a dream-like feel.
Pierce could have been influenced by his new found captivity of parenthood. The scenes that involve the way light is affected visually (i.e. the light patterns formed from blinds and the different textures that are produced when light is shown through glass) creates a feeling of seclusion and capivity. Even when the viewer is brought outside the house, the viewer stares at a wall and the shadow that is cast upon it.
I can assume that Pierce loves being a parent, but watching Thursday gives me a feeling that Pierce feels a little trapped. Even with his light-hearted editing, the intense warm that is given from the sunlight in the film, and a fun soundtrack (compiled mainly of the sounds emitted by Pierce, the outside noise of children and leaves rustling, and a coffee cup being placed on a table) I can't help but feel Pierce wishes to be somewhere else.
For more information on Leighton Pierce, check out his website at www.leightonpierce.com.
Current Music Selection: Lightening Bolt - Wonderful Rainbow
Now, let me off my boxx.
Soap
Tuesday, February 20, 2007
Tracy Fullerton and the new collaborative artform of video games.
Listen up debutant's and my cavalry, and listen well.
Today I had the wonderful pleasure of attending a lecture given by Tracy Fullerton, author, teacher, and video game designer. I've sat in front of hundreds of guest speakers and very few have impressed me as well as Fullerton. She impressed me by her belief that by integrating art, philosophy, and memories into a game, the user might find a way to relate to it. Its about experiencing the game on a higher interactive medium. Now I don't play video games. I might have smoked a joint or two (or more), geeked out, and got into some serious video game action while in high school. So as I was preparing for the lecture and boning up on Fullerton's background I cam across a free download for a game named "Cloud". I decided to download the game and give it a try. After an hour or so of game play I realized that I was experiencing one of my earliest childhood fantasies: the ability to fly. Given it was through a video game, but I never had experienced a connection with a game like I had with "Cloud" (All of you reading this can either groan or wipe your tears - its true). In the game, the user embodies a boy named Yun, and Yun has the ability to fly around the game universe and collect clouds. Once the clouds are collected, the user has the opportunity to release clouds in any pattern or design they can create. I remember as a kid looking up at the sky and imagining that clouds would look like a bunny or a frog. As simple as the game was, I experienced an engaging, and personal connection with the game that I haven't experienced before. The approach to Fullerton's design techniques revolve around the game's ability to interact with the gamer, not only functionality wise but on a level that integrates philosophical questions, reproduced art, and common memories that most people share. The philosophy behind “Cloud” is for the user to reconnect with their ideas and fantasies they had as a child. This allows the game to transcend the mechanics of the video game norm into a more communicative art form.
Fullerton also produced a trailer of sorts for her new game "Night Journey" for which she has teamed up with artist Bill Viola. The game resembles a "Myst"-like environment but recreates Viola's artwork. Still a prototype, it looks as if it might be an interesting art project.
Now to my rant.
Why is it that I am always stuck with immature film students that do nothing but crack jokes, complain about the film department and ruin what could have been a really interesting exercise. After the lecture, the large group was broken into smaller groups where we were supposed to play a basic game, and then create your own game. Well those in my group couldn't participate in a child's game and if they had to design a game, lets just say a certain school was the basis of the jokes. Go back to high school or grow up! Don't ruin other peoples experiences by your inability to be creative or at least act like an adult. Needless to say, I left (as did another group member who I assume was feeling the same way). I left because I didn't want to be associated with an idea that was designed to be a joke that was to be presented to Fullerton. Lets grow up kids or shut the hell up!
Sorry.....
Anyways for further info on Tracy Fullerton you can check out her website at www.tracyfullerton.com
or check out Bill Viola at
www.billviola.com
Also - a few films that touch on clouds:
Le Fabuleux destin d'Amélie Poulain a.k.a. Amelie
La Science des rêves a.k.a. The Science of Sleep
Truly, Madly, Deeply
Now, let me off my boxx.
Soap
Today I had the wonderful pleasure of attending a lecture given by Tracy Fullerton, author, teacher, and video game designer. I've sat in front of hundreds of guest speakers and very few have impressed me as well as Fullerton. She impressed me by her belief that by integrating art, philosophy, and memories into a game, the user might find a way to relate to it. Its about experiencing the game on a higher interactive medium. Now I don't play video games. I might have smoked a joint or two (or more), geeked out, and got into some serious video game action while in high school. So as I was preparing for the lecture and boning up on Fullerton's background I cam across a free download for a game named "Cloud". I decided to download the game and give it a try. After an hour or so of game play I realized that I was experiencing one of my earliest childhood fantasies: the ability to fly. Given it was through a video game, but I never had experienced a connection with a game like I had with "Cloud" (All of you reading this can either groan or wipe your tears - its true). In the game, the user embodies a boy named Yun, and Yun has the ability to fly around the game universe and collect clouds. Once the clouds are collected, the user has the opportunity to release clouds in any pattern or design they can create. I remember as a kid looking up at the sky and imagining that clouds would look like a bunny or a frog. As simple as the game was, I experienced an engaging, and personal connection with the game that I haven't experienced before. The approach to Fullerton's design techniques revolve around the game's ability to interact with the gamer, not only functionality wise but on a level that integrates philosophical questions, reproduced art, and common memories that most people share. The philosophy behind “Cloud” is for the user to reconnect with their ideas and fantasies they had as a child. This allows the game to transcend the mechanics of the video game norm into a more communicative art form.
Fullerton also produced a trailer of sorts for her new game "Night Journey" for which she has teamed up with artist Bill Viola. The game resembles a "Myst"-like environment but recreates Viola's artwork. Still a prototype, it looks as if it might be an interesting art project.
Now to my rant.
Why is it that I am always stuck with immature film students that do nothing but crack jokes, complain about the film department and ruin what could have been a really interesting exercise. After the lecture, the large group was broken into smaller groups where we were supposed to play a basic game, and then create your own game. Well those in my group couldn't participate in a child's game and if they had to design a game, lets just say a certain school was the basis of the jokes. Go back to high school or grow up! Don't ruin other peoples experiences by your inability to be creative or at least act like an adult. Needless to say, I left (as did another group member who I assume was feeling the same way). I left because I didn't want to be associated with an idea that was designed to be a joke that was to be presented to Fullerton. Lets grow up kids or shut the hell up!
Sorry.....
Anyways for further info on Tracy Fullerton you can check out her website at www.tracyfullerton.com
or check out Bill Viola at
www.billviola.com
Also - a few films that touch on clouds:
Le Fabuleux destin d'Amélie Poulain a.k.a. Amelie
La Science des rêves a.k.a. The Science of Sleep
Truly, Madly, Deeply
Now, let me off my boxx.
Soap
Monday, February 19, 2007
D'Est (Of is?): Chantal Akerman's Documentary
I have spent the past couple of hours drowsily recalling moments of Chantel Akerman's D'Est with equal parts fondness and annoyance. I say they are equal parts because I enjoyed viewing the film (and that's what it was - a viewing and not an experience) and am frustrated by the label of importance that is placed on certain films. I will get to the later in a little bit.
For those that haven't seen the film, it is an intimate exploration of people, their communities, and the mundane all wrapped in a pretty depressing form of a documentary. Its depressing due to the look of the 16mm film stock and the landscape of the film. D'Est was shot in Germany, Poland, Russia, and Moscow. Akerman focuses on cars, trucks, trains, people - both staged and real-life settings. As the camera tracks the action or is fixed on a certain scene, Akerman seeming dodges the lines of dramatic film making and guerilla documentary tactics creating a small barrier that allows the viewer to dive into the film without the interaction. The scenes that focus on individuals or groups of people, Akerman plays with the ability that allows these people to be viewed by the camera. The effect leaves the people in the film extremely vulnerable.
I do find the scenes that are located inside a residence to rid the film of certain credibility. One example is the woman that is in her kitchen drinking tea or coffee. Obviously nervous, she sips her tea/coffee (we will just call it cotea for short), shakily sets her cotea back on her saucer, and the sips it again. I can see Akerman sitting behind the camera saying "Now I will say action in a minute, and you are to drink your cotea and stare at the wall, like you usually do when you drink cotea, and just ignore the camera." The scenes are a little to contrived in my opinion.
The scenes that are located outside, showcasing everyday life in the street, remind me of Godard's Breathless, particularly the scenes with Jean Seberg and Jean-Paul Belmando where they are walking around the city. Both have a captivating feeling that you (yes, you the audience) are in the same space.
As I stated earlier, there is a moment of reflection that annoys me to the point of strangulation. Maybe I am wound too tight. Maybe I should sleep more often and remember to blink. Maybe I am tired of people trying to tell me that certain experimental films are "important." In reading Catherine David's "D'Est: Akerman Variations" I found that her critique of the film to be quite eloquent but over-embellished to the point of vomiting blood. "Rarely (and not since the beginning of cinema and the early Soviet depiction of the heroic masses of the revolution) have the modern crowd and individual, the "idle community" of post-Communism, been filmed with such startling intimacy, in their abandon and dispossession." Give me a break. Yes the film was interesting to watch and it did reveal moments that made it stand out, but that is a tall comment for a voyeuristic film (and I mean voyeuristic in the nicest way. Not in that smutty, I'm watching you, and if no-one is looking I might just toss-off-to-you way).
Sigh. Anyways. D'Est is an interesting view into the lives of a post-Communism society, and deals playfully with the audiences boundary in the film viewing experience and the isolation that it can provide as well.
On a side note: I appreciate any feedback to my rants, however heated the feedback is I will take it to heart.... and then shove it right up your ass! Now let me off my boxx.
Soap
For those that haven't seen the film, it is an intimate exploration of people, their communities, and the mundane all wrapped in a pretty depressing form of a documentary. Its depressing due to the look of the 16mm film stock and the landscape of the film. D'Est was shot in Germany, Poland, Russia, and Moscow. Akerman focuses on cars, trucks, trains, people - both staged and real-life settings. As the camera tracks the action or is fixed on a certain scene, Akerman seeming dodges the lines of dramatic film making and guerilla documentary tactics creating a small barrier that allows the viewer to dive into the film without the interaction. The scenes that focus on individuals or groups of people, Akerman plays with the ability that allows these people to be viewed by the camera. The effect leaves the people in the film extremely vulnerable.
I do find the scenes that are located inside a residence to rid the film of certain credibility. One example is the woman that is in her kitchen drinking tea or coffee. Obviously nervous, she sips her tea/coffee (we will just call it cotea for short), shakily sets her cotea back on her saucer, and the sips it again. I can see Akerman sitting behind the camera saying "Now I will say action in a minute, and you are to drink your cotea and stare at the wall, like you usually do when you drink cotea, and just ignore the camera." The scenes are a little to contrived in my opinion.
The scenes that are located outside, showcasing everyday life in the street, remind me of Godard's Breathless, particularly the scenes with Jean Seberg and Jean-Paul Belmando where they are walking around the city. Both have a captivating feeling that you (yes, you the audience) are in the same space.
As I stated earlier, there is a moment of reflection that annoys me to the point of strangulation. Maybe I am wound too tight. Maybe I should sleep more often and remember to blink. Maybe I am tired of people trying to tell me that certain experimental films are "important." In reading Catherine David's "D'Est: Akerman Variations" I found that her critique of the film to be quite eloquent but over-embellished to the point of vomiting blood. "Rarely (and not since the beginning of cinema and the early Soviet depiction of the heroic masses of the revolution) have the modern crowd and individual, the "idle community" of post-Communism, been filmed with such startling intimacy, in their abandon and dispossession." Give me a break. Yes the film was interesting to watch and it did reveal moments that made it stand out, but that is a tall comment for a voyeuristic film (and I mean voyeuristic in the nicest way. Not in that smutty, I'm watching you, and if no-one is looking I might just toss-off-to-you way).
Sigh. Anyways. D'Est is an interesting view into the lives of a post-Communism society, and deals playfully with the audiences boundary in the film viewing experience and the isolation that it can provide as well.
On a side note: I appreciate any feedback to my rants, however heated the feedback is I will take it to heart.... and then shove it right up your ass! Now let me off my boxx.
Soap
Late set-up but ready to go!
Well I know this is a little late, but when you're busy, you're busy. I've been super busy. So without wasting any more time, let me off my boxx.
Soap
Soap
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