This is the world of Washed Out's (Ernest Greene) new album Mister Mellow. Released as an integral companion to Mister Mellow is a full length visual counterpart that utilizes almost every form of animation (collage, claymation, hand-drawn, stop-motion). The aesthetic of each video reflects the handmade, "paint outside the lines" style of Greene's music – and again is a reaction against the sterile, hyper-realistic renderings of most modern digital-based art. The rich, detailed patchwork that makes up Mister Mellow (and its visual accompaniment) is unique in this day of quick-fix, throwaway music-culture.
Animator Ryan Larkin does a visual improvisation to music performed by a popular group presented as sidewalk entertainers. His take-off point is the music, but his own beat is more boisterous than that of the musicians. The illustrations range from convoluted abstractions to caricatures of familiar rituals. Without words.
Barry Doupé's lusty A Boy on a Dock Blowing His Nose features vaguely articulated, quasi-human doodles and Spirographs animated within a bizarre netherworld of its own humid imagination.
"Phoools" dives into an artist's obsession with the simplest of shapes - a few ovals rotated around a circle, universally agreed to be called a flower. As he starts seeing this pattern everywhere, from drain covers to textiles, his perception shifts. The line between observer and observed blurs, reality melts into imagination.
A look at the "mod" culture of the, visiting the Sunset Strip in West Hollywood, going from discotheques to dirt bike competitions, surfing, karate, go-carting, political protests and pot parties.
For the multimedia exhibition Tangenten I (Tangents I), Dammbeck and co-organizer, sculptor and painter Frieder Heinze had planned to collaborate on a film that would combine non-camera animation with 35mm footage of a train ride between the two Dresden districts of Radebeul and Pieschen. When the exhibition was banned in 1978, Heinze turned to other projects, but Dammbeck continued working on the film by himself. Metamorphoses I—the first experimental film ever to be shown publicly in East Germany—marks the filmic beginning of Dammbeck’s long-term art project the Herakles-Konzept (Hercules Concept).
A disturbing puppet short exploring the concept of creativity.
1993 recording of band Les Rallizes Dénudés performing at the Baus Theater.
People battling to the death in a seemingly endless wasteland searching for the Embodiment of Angst.
Raoul Duke and his attorney Dr. Gonzo drive a red convertible across the Mojave desert to Las Vegas with a suitcase full of drugs to cover a motorcycle race. As their consumption of drugs increases at an alarming rate, the stoned duo trash their hotel room and fear legal repercussions. Duke begins to drive back to L.A., but after an odd run-in with a cop, he returns to Sin City and continues his wild drug binge.
The Apostle John receives disturbing visions of the approaching AntiChrist, the impending apocalypse, a series of demonic creatures, and a psychedelic descent into hell.
A secret experimental lab accident creates a black hole, which actually hides a highly advanced alien intelligence, that wants to take over the universe. Of course this begins by transmitting crazy trippy messages encoded to turn humanity into zombies!! Watch out outer space, this plan 9 goes to 11! Doctor Strain, A Black Hole, Aliens, Brains, Zombies and Unicorns. Everything is here! A quirky mind bending experimental science fiction satire.
Expansion remixes the images of Matsumoto’s Esctasis into an more colourful psychedelic short.
A mystical detective story set in the realm of Moscow art scene. Psychedelic trip through different places, characters and strategies in the search for the Author, covering mythology of Moscow art from the period of 1980-2010. The movie is based on the 'Inspection Medical Hermeneutics' group's text of the same name and on the historical research performed by the authors of the film. Production was an experiment in collective film making experience.
A documentary chronicling the "youth movement" of the late '60s on Los Angeles' Sunset Strip and San Francisco's Haight-Ashbury district.
In the fall of 1967, intermedia artists Ture Sjölander and Lars Weck collaborated with Bengt Modin, video engineer of the Swedish Broadcasting Corporation in Stockholm, to produce an experimental program called Monument. It was broadcast in January, 1968, and subsequently has been seen throughout Europe, Asia, and the United States. Apart from the technical aspect of the project, their intention was to develop a widened consciousness of the communi - cative process inherent in visual images. They selected as source material the "monuments" of world culture— images of famous persons and paintings.