Friday, February 6, 2009
horse covers
so here's the new song. the video is from the experimental television center. i'll put up the song for download shortly.
more stuff to look at
artists:
-Karen Koltrane who is having a show coming up at Another Roadside Attraction in London.
-RothStauffenberg
here's a quotation (from their website) about their work:
IN THE ROOM: some thoughts on ROTHSTAUFFENBERG'S BASED ON A TRUE STORY and the idea of LOST CINEMA, POST-CINEMA and POST-TRAUMATIC CINEMA
…The ideal is a hybrid of the two, as with these rooms or locations, which suggest multiple narrative possibilities, as well as their opposite, absence of any narrative at all, just empty space. One line of approach which suggests itself is exploring the memory of cinema rather than cinema itself, shooting 'takes' or making sets which amount to fragments of a film that may one day exist or might once have existed. Where film is no longer conditioned by a single projection or linear unfolding, but can exist in a spatial dimension, a labyrinth of images in which it is possible to become lost, where the past co-exists with the present, and is not conditioned by flashback, and where the image is released from the tyranny of narrative. The great American film critic and painter Manny Farber, author of Negative Space, rarely said what a film was about. He was never interested in any synopsis of the storyline. Instead he wrote in terms of space, whether geographical, psychological or metaphysical. He described the terrain of the film as though it were a landscape, looking, for example, at Fassbinder's Merchant of the Four Seasons with the eyes of a man who had studied the paintings of Fra Angelico and saw the connection.
These rooms or locations subscribe to ideas that run deep in the history of the image, both still and moving. They subscribe to Atget's photographs of 19th century Paris, of which it was remarked that his empty, unpopulated streets looked like scenes of crimes waiting to happen. In this Atget anticipated the modern surveillance grid, diaries kept by machines, also there for the crime-in- waiting. These rooms subscribe to the idea of the false setting of the set… Christopher Petit, Introduction to Based On a True Story, Zurich September 2008
and my friend mentioned to me Nieves Resources which has good stuff to look at...
they'll be a new sound post soon...
-Karen Koltrane who is having a show coming up at Another Roadside Attraction in London.
-RothStauffenberg
here's a quotation (from their website) about their work:
IN THE ROOM: some thoughts on ROTHSTAUFFENBERG'S BASED ON A TRUE STORY and the idea of LOST CINEMA, POST-CINEMA and POST-TRAUMATIC CINEMA
…The ideal is a hybrid of the two, as with these rooms or locations, which suggest multiple narrative possibilities, as well as their opposite, absence of any narrative at all, just empty space. One line of approach which suggests itself is exploring the memory of cinema rather than cinema itself, shooting 'takes' or making sets which amount to fragments of a film that may one day exist or might once have existed. Where film is no longer conditioned by a single projection or linear unfolding, but can exist in a spatial dimension, a labyrinth of images in which it is possible to become lost, where the past co-exists with the present, and is not conditioned by flashback, and where the image is released from the tyranny of narrative. The great American film critic and painter Manny Farber, author of Negative Space, rarely said what a film was about. He was never interested in any synopsis of the storyline. Instead he wrote in terms of space, whether geographical, psychological or metaphysical. He described the terrain of the film as though it were a landscape, looking, for example, at Fassbinder's Merchant of the Four Seasons with the eyes of a man who had studied the paintings of Fra Angelico and saw the connection.
These rooms or locations subscribe to ideas that run deep in the history of the image, both still and moving. They subscribe to Atget's photographs of 19th century Paris, of which it was remarked that his empty, unpopulated streets looked like scenes of crimes waiting to happen. In this Atget anticipated the modern surveillance grid, diaries kept by machines, also there for the crime-in- waiting. These rooms subscribe to the idea of the false setting of the set… Christopher Petit, Introduction to Based On a True Story, Zurich September 2008
and my friend mentioned to me Nieves Resources which has good stuff to look at...
they'll be a new sound post soon...
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