TRASH HUMPERS, new film by HARMONY KORINE

Talks Torsten ReilTorsten Reil: Animating neurobiologist builds better animations

By coding computer simulations with biologically modeled nervous systems, Torsten Reil and his company NaturalMotion breathe life into the animated characters inhabiting the most eye-poppingly realistic games and movies around.

http://www.ted.com/talks/torsten_reil_studies_biology_to_make_animation.html

Faceless-The film

FACELESS was produced under the rules of the 'Manifesto for CCTV Filmmakers'. The manifesto states, amongst other things, that additional cameras are not permitted at filming locations, as the omnipresent existing video surveillance (CCTV) is already in operation.
directed by Manu Luksch, voice over: Tilda Swinton, soundtrack: mukul, piano music: Rupert Huber, www.ambientTV.NET

Craig Baldwin

is a filmmaker and curator whose interests lie in archival retrieval and recombinatory forms of cinema, performance, and installation. He is the recipient of several grants, including those from the Rockefeller Foundation, Alpert Award, Creative Capital, Phelan, AFI, FAF, and California Arts Council. Over the last two decades, his productions have been shown and awarded at numerous international festivals, museums, and institutes of contemporary art, often in conjunction with panels, juries, and workshops on collage and cultural activism. His own weekly screening project, Other Cinema, has continued to premiere experimental, essay, and documentary works for over a quarter century, recently expanding into DVD publishing.
http://www.othercinema.com/cbfilmography.html
http://www.othercinema.com/

Bonnie Prince Billy - Workhorse

directed by Harmony Korine

Laurie Simmons's film 'The Music of Regret,'

ACT2:'Excellent Moon'


Cafe Song


from 'The Music of Regret,' by Laurie Simmons, featuring Adam Guettel as The Dummy // music M. Rohatyn, lyrics L. Simmons.

'The Music of Regret' is a mini-musical in three acts. The film is inspired by three distinct periods of Laurie Simmon’s photographic work. Vintage childcraft puppets, ventriloquist dummies and walking objects enact three tales of ambition, disappointment, love and regret. more

Read lyrics of the songs here

'The Music of Regret''s acts I and III also staged and performed live as part of PERFORMA05



Many more wonderful photographs and artworks at the artist's website

You can read also an interview here

Watch 50 Categorized Dance Animation Videos

Here you will find categorized links to more than 50 posts on Great Dance that include videos of many different types of dance and movement animations such as 2D and 3D, stop-motion, visual effects, interactive performances and installations, computer games, machinima, live action and CG, motion graphics, visualizations, pre-cinema and many other types.

"Theater Of War" by John Walter

John Walter labels his film Theater Of War “a documentary about art and politics,” which is the kind of blatant provocation meant to pay homage to the film’s ostensible subject, Bertolt Brecht. In 2006, Walter was allowed to film the rehearsals for George C. Wolfe’s Central Park production of Brecht’s anti-war play Mother Courage And Her Children, starring Meryl Streep, Kevin Kline, and Austin Pendleton, with a Tony Kushner translation and songs by Jeanine Tesori. Walter was also granted extended time with Streep, who allowed a rare and reluctant glimpse at her process in deference to Brecht, an artist who favored exposing his own artifice. Walter intersperses his coverage of the Mother Courage production with biographical sketches and analysis of Brecht—much of it provided by post-modern novelist Jay Cantor. At one point, Walter shoots some stock footage of Cantor working at his computer, then cuts to a shot of what Cantor is writing: a few idle lines about how much he hates pretending to work for the sake of a movie.

Though Theater Of War is informative—both about Brecht and about the effort it takes to mount a big New York production—Walter overreaches in trying to connect Brecht’s anti-war sentiment with contemporary protest movements, and doesn’t do more than dabble with the themes of truth and representation in documentary filmmaking. There’s an interesting section about how in Brecht’s 1947 appearance before HUAC, he used his own theatrical techniques to throw Congress off the scent of his Marxist leanings; for the most part though, Walter is unable to make the intersection between art and politics in Brecht’s work really come to life. The problem is built into the documentary’s design. While Theater Of War contains a few direct, empathetic moments—like Kushner describing how Mother Courage changed his life when he read it in college, or Streep explaining that she sees her role in theatrical revivals to be “the voice of dead people”—Walter would rather we care about the ideas this film raises, not the people we meet. Which is very Brechtian, to be sure, but not always so engaging
http://www.avclub.com/content/cinema/theater_of_war?utm_source=imdb_rss_1
http://filmmakermagazine.com/directorinterviews/2008/12/john-walter-theater-of-war.php

Video Art by Michael Szpakowski and Doron Golan

This summary is not available. Please click here to view the post.

non-western | are you or have you ever been? by Linda Wallace

http://www.lindawallace.eu/
'In her video non-western Linda Wallace subtitles her fascinating,rhythmic montage of Dutch vistas, highways and people with long stringsof numbers. These "facts and figures" describing Dutch society slidethrough the images at a fast pace, for instance: the total number ofnon-western immigrants in 2050, the percentage of non-westerners in thebiggest cites, and the total numbers of non-western young people.Wallace knowingly uses bureaucratic "truths" rather than the complex,contradictory and dynamic daily reality that the statistics hide. Whatdo these statistics do? The inclination towards statisticalessentialism, where lives become stuck in unambiguous, unalterable andirreconcilable identities is characteristic of the contemporary publicdebate, and bears a striking resemblance to the corners and straightlines of the Netherlands landscape.'
http://www.allochtoonen.eu/

Pravda , La Survireuse by Gye Peellaert

http://www.guypeellaert.com/guy.html

Guy Peellaert is dead in Paris on November 17 from an infection then a double heart attack following several years of self-dialysis (from a cancer which he had radically stopped since two years)

Belgian advertising illustrator Guy Peellaert was one of the first cartoonists to embrace Pop Art and incorporate Andy Warhol's appropriation of mass market iconography into his work. His first comic, Les aventures de Jodelle, (Jodelle's likeness based after yé-yé chanteuse Sylvie Vartan) appeared in 1966, swiftly followed by 'Pravda la Survireuse' (her visage modelled after Françoise Hardy) for the magazine 'Hara-Kiri' in 1967.
Peellaert recently art directed this animation, based on 'Pravda'.
The animation was made by Gallien Guibert from www.thegenre.com

After contributing a number of photo collage-based style strips to 'Hara-Kiri', Peellaert adopted a photo-realistic airbrush style and made a successful return to advertising and illustration; most notably on David Bowie's 'Diamond Dogs' LP cover and 'Rock Dreams', his collaboration with rock journalist Nick Cohn.

stockmarkets getting spiritual by Pekka Ruuska

mighty.god from Pekka Ruuska on Vimeo.

http://www.pekkaruuska.com/

Choreographic Captures

http://www.choreographiccaptures.org/

Queens for a Day a film by Pascal Magnin

Part I


Part II, Part III, Part IV

The Birth of Primary Cinema from the Spirit of Sound - Feature Article by Frank Rothkamm

on Furthernoise http://www.furthernoise.org/index.php?url=page.php&ID=273&iss=71
It is about eleven o'clock in the morning in my studio in Los Angeles. I look out the window and stare at the Hollywood sign in the distance. The phone almost never rings. If it does, I pick up and nobody is on the line. After a while my mind drifts and a single thought forms in my head like a mantra:
As the rate of information is increasing, so is its comprehensibility decreasing.
I realize that this is especially true for motion pictures, arguably the first digital art form because they're made of single images floating by at the rate of twenty four frames per second. At this rate however, the perception is one of continuous motion. Because of the high rate of images per second, or, of information given per second, the brain (or let me use a Kantian term: the understanding) can no longer understand or process the single image. The development of the modern cinema in Hollywood has only increased the misunderstanding of the single image by constantly increasing the rate of events per second. When I turn on the TV, a SpongeBob SquarePants cartoon is interrupted by a commercial. The longer the show continues, the more often the commercials are shown. The scenes in these commercials are cut so fast and there are so many images per second that I have no idea of what I'm actually watching and thus, no idea what it is that I'm supposed to buy. I do not try to understand anything anymore, I just sit here and let the events pass by.
My eyes drift back to the Hollywood sign: Motion pictures are based on an illusion.

Animata

Animata is a real-time animation software, designed to create interactive background projections for concerts, theatre and dance performances, and promotional screenings.The peculiarity of the software is that the animation is generated in real-time, making continuous interaction possible. This ability also permits that physical sensors, cameras or other environmental variables can be attached.The software can be connected with many pieces of external software in order to make use of the possibilities of these applications in the fields of image processing, sound analysis, or motion capture. These applications can analyse for instance sound input, or user movement, and this data could drive animations reacting to these environmental changes in real-time.
http://animata.kibu.hu/
http://www.piksel.no/piksel08/p08_workshops.htm
See also: http://createdigitalmotion.com/

Crisis in the Credit System

www.crisisinthecreditsystem.org.uk
Crisis in the Credit System is a four-part drama dealing with the credit crisis, written and directed by artist Melanie Gilligan.
A major investment bank runs a brainstorming and role-playing session for its employees, asking them to come up with strategies for coping with today's dangerous financial climate. While diligently pursuing this task, five individuals inadvertently role-play their way into bizarre make-believe scenarios forming disturbing conclusions about the deeper significance of the credit crisis and its effects beyond the world of finance.
Using fiction to communicate what is left out of documentary accounts of the crisis, the short, TV-style episodes reflect the strangeness of life today in which the financial abstractions which govern our lives appear to be collapsing.
http://www.artangel.org.uk/pages/present/present0908_crisis.htm

Pascal Lievre

http://www.lievre.fr/fr/index.php
Watch the videos of Pascal Lievre... and the re-contextualization of famous songs.
A Jesus Christ singing Gérald De Palmas's "Marie" or
two women in love singing Liz MC Clarnon's "Woman in love"
and many more like this...
Some reviews:
Pascal Lièvre born in 1963 in Lisieux. Lives and works in Paris.
Specialising in the diversion of pop music, Pascal Lièvre proceeds an a surgical manner, re-injecting some sense into well-known tunes, always with the intention of provoking revealing collisions. With very limited means, like a whole branch of contemporary young video artists (static shots, hardly any editing, minimal lighting...), the Parisian artist gives his often virulent opinion on the evolution of our societies. This is exactly what we expect of a video-maker today, humour included.
Pascal LIèvre, born in 1963, lives in Paris. His work as a painter began there more than ten years ago and has developed into the "musée des ombres". This video allows one to follow his research and his recent works were widely shown in major film festivals. Since 2000, the videos are based on the principle of karaoké by Abba Mao where the artist sings a passage from "petit livre rouge" of Mao Tsé-Toung to the rhythem of "Money, Money, Money" by Abba mixing the cultural symbols. While singing, his picture is erased little by little until his complete disappearance under red make-up, drowning itself in a background of the same color. .

Digital Archiving as an Art Practice

Read Dew Harrison’s essay “Digital Archiving as an Art Practice <http://www.chart.ac.uk/chart2005/papers/harrison.html>, on the occasion of the Dan Oki's exhibition, "The Last Super 8 mm Film", Galerija Galzenica, Velika Gorica/Zagreb; http://www.galerijegalzenica.info/english.html

YOUNG-HAE CHANG HEAVY INDUSTRIES

PRESENTS: http://www.yhchang.com/

#***one of the most beautiful, strange, conceptual net art sites***#!

thanks to: http://www.visualcorrespondents.com/