Now, in the era we live in, we are surrounded by a variety of ideas, and each of these ideas and thoughts is given to us in many ways. The Art and The Media play an important role as two important tools for forcing and pushing information, but these two important tools go so far as to get something that takes their lives and lose control of humanity and is nothing but The Ruin.
A whirlwind of improvisation combines the images of animator Pierre Hébert with the avant-garde sound of techno whiz Bob Ostertag in this singular multimedia experience, a hybrid of live animation and performance art.
This film was made out of the capture of a live animation performance presented in Rome in January 2005 by Pierre Hébert and the musician Bob Ostertag. It is based on live action shooting done that same afternoon on the Campo dei Fiori where the philosopher Giordano Bruno was burned by the Inquisition in 1600. A commemorative statue was erected in the 19th century, that somberly dominate the market held everyday on the piazza. The film is about the resurgence of the past in this place where normal daily activities go on imperturbably. The capture of the performance was reworked, shortened and complemented with more studio performances.
A compilation of avant-garde artwork and talent of the mid to late 20th century hosted by Ryuichi Sakamoto.
1980-81, 13:27 min, b&w, sound Videograms is an ongoing series of text/image constructs or syntaxes using the Rutt/Etra Scan Processor, a device that enables Hill to sculpt electronic forms on the screen. Each "videogram" relates literally or conceptually to Hill's accompanying spoken text, which is visually translated into abstract shapes. Hill writes, "The vocabulary and precision of this tool allowed me to expand the notion of an 'electronic linguistic' through textual narrative blocks created specifically for the electronic vocabulary inherent in the Rutt/Etra device."
The goddess Diana and her two attendants traverse the rugged terrain of Idaho’s Sawtooth Mountains in pursuit of the elusive wolf. An Engraver (Matthew Barney) furtively documents their actions in copper engravings and provokes a series of confrontations. The characters communicate through dance, letting movement replace language as they pursue each other and their prey.
A feminine machine, stuffed with modern nano-technology and useless operations is depicted in this mixed-media 2D animation short, highlighting the consequences of consumerism and the downfall of civilized society. The machine reminiscent of a two-dimensional video game, leads to a destructive chain reaction after a strange malfunction, with people turning into clones and robots.
In Untitled (Pink Dot), Murata transforms footage from the Sylvester Stallone film First Blood (1982) into a morass of seething electronic abstraction. Subjected to Murata's meticulous digital reprocessing, the action scenes decompose and are subsumed into an almost palpable, cascading digital sludge, presided over by a hypnotically pulsating pink dot.
The video debut of experimental musicians and culture jamming artists Emergency Broadcast Network.
Part one of the two part abstract video art-piece, with music composed by Philip Glass and performed by the Kronos String Quartet.
"In an effort to explore the flexibility of Telidon, Canada's videotex system, Pierre Moretti, animation artist from the National Film Board, used, in the graphic mode, the geometric figures which form the basis for Telidon's picture description instructions. Thus he created this short animated film."
"Plasforms" is above all a visual composition, the relevance of the camera's absence, continuing in its time the plastic tradition of seeing. It is the exposure of the digital medium itself, a choreography of ghost images mechanically imitating the artificiality of a process.
Religions are like cactus. They look like flowers, but with bare blades.
“From This” is a permanent cycle. This video intended to be timeless in its original action plan, to be played constantly in a particular place, with a TV, a player and a power generator.
Shot on 16mm film in New York and composed in Berlin, the work explores polarizing themes of the metropolis. Audibly and visually, the viewer is put in a flicker between serenity and intensity; harrowing ambience cut with sharp beeps, vulnerable steps mashed in high velocity.
White Homeland Commando takes the familiar terrain of network action drama and tilts the playing field. Reminiscent of today's popular reality-based cop shows, White Homeland Commando offers a straightforward story: four members of a special police unit investigate and infiltrate a New York-based white supremacist organization. But that is where the commonplace ends. The teleplay is shot and edited in a highly textured visual style, the colors are subdued yet somehow garish, and the sound is deliberately just out of sync with the speaker's lips. Occasional static combines with jumps in the plot — the editing is reminiscent of a television viewer flipping channels.
An exploration of the VHS medium and the subterranean trash which thrived in it. Using source material from Emmanuelle 6, this DVD-R/VHS further blurs the line between low and high art. Beautiful cinematography coupled with smut. Strategic pauses and tracking errors guides the viewer to discover the true depth and sadness of the seemingly one-dimensional Emmanuelle. Soaring arpeggio synths and pulsating rhythms by Rob Feulner. The utter destruction of arguably the most beautiful film never seen, lost and forgotten on the shelf of your local video store, behind the cowboy doors or dangling beads. Written off as pornography by most, written off as too soft by creeps. This is the plight of Emmanuelle.
An experimental film comprised of Stanley Kubrick's THE SHINING played forwards and backwards at the same time on the same screen, creating bizarre juxtapositions and startling synchronicities
Best known for his work in video, Richard Fung has made the politics of gender, ethnicity, and sexual orientation his central focus. Chinese Characters (1986) examines the ambiguous relationship of gay Asian men with white gay porn.
An attic, a giant sewing needle and an anti-gravity fairy tale of sibling rivalry. Three sisters fight over who gets the biggest phallus in this post-feminist animation-infused playground by media artist Michelle Handelman. If Hans Christian Anderson got a sex change, surfed the porn sites, and hung with the freaky girls, his stories would look like this.