im_mobile

Nice to have you back Jess!
I really like this piece- I love the care with which
the images have been mixed so that sometimes we are
seeing an almost abstract examination of certain
shapes, colours or textures, then at others we see
near realistic motion sequences struggle to emerge and
then kind of fold back into the screen ( I don't mean
the panning stuff but the..is it footballers or some
sort of sporting event?) .One question though - does
it need the music? I think it holds up without…( and
personally I find the music, unlike the work itself,
somewhat banal)
warmest wishes
michael

— Jess Loseby <[email protected]> wrote:

> hello. I don't seem to know any of you these days.
>
> trying to get reconnected around ongoing ill health.
> im_mobile is a flash video mix as
> part of the "without permission" series to try and
> get back to work.
> 1000 mobile phone vid and stills.
> may make you feel a little off-colour
> (I'm still kind of into force-fed cathasis:)
>
> DO NOT view if sensitive to strobe or have light
> sensitive epilepsy!!!!!
>
> http://www.rssgallery.com/im_mobile.html
>
> [firefox users please follow link there]
>
>
> jess.
>
>
>
>
> +
> -> post: [email protected]
> -> questions: [email protected]
> -> subscribe/unsubscribe:
> http://rhizome.org/preferences/subscribe.rhiz
> -> give: http://rhizome.org/support
> +
> Subscribers to Rhizome are subject to the terms set
> out in the
> Membership Agreement available online at
> http://rhizome.org/info/29.php
>

Hi Michael,

Tryng to be back slowly, cheers:)

Re the music - the trouble with using any music generally is it is bound not to be of
everyones taste but the "without permission" series (that this work is from) is
deliberately mixed to specific "popular" music. Without it you would only get half the
story. In this one the story might be the disorientation between domestic and the "space
boy". Who or what the space boy is up for grabs:)

I always call these ones mixes rather that artworks because they aren't really supposed
to stand up on their own without the music (although its nice of you to suggest it does:)

Trying to catch up with nine months of threads on these lists, I have also seen a lot of
your short movies in a group recently too. I notice with interest how your "moment
stories" are developing into much sharper moments than the narrative/allegories that I
would suggest that they previously had. Is it David Crawford that talks about mirco-
narratives? is that what you are moving towards…?

Jess.




> Nice to have you back Jess!
.One question though - does
> it need the music? I think it holds up without…( and
> personally I find the music, unlike the work itself,
> somewhat banal)
> warmest wishes
> michael
>
o
/^ rssgallery.com
][

Hi Giselle

cool - cultural entropy you can sing-along to. Nice way to start the day!

Pixel-rhetoric is a new one on me (another nice name for a cat?)
explain, please??!!
jess.


Send reply to: giselle beiguelman <[email protected]>


> Jess,
> very good.
> i think we are moving towards micronarratives and diving into the
> pixel rhetoric.
> try this one:
> www.pucsp.br/~gb/desmemorias
> (best viewed with IE6. pop ups unblocked + sound on + broadband.)
>
o
/^ rssgallery.com
][

> > i think we are moving towards micronarratives and diving into the
> > pixel rhetoric.
> > try this one:
> > www.pucsp.br/~gb/desmemorias
> > (best viewed with IE6. pop ups unblocked + sound on + broadband.)

that hits the screen really well, giselle. lots of sound and video i hadn't
heard/seen for a long time, but i know just about all the references. that's
a wonderfully contemporary time machine of popular mainly american tv. did
you see all that stuff in brazil growing up? i was running around in my
pajamas, sitting on the floor watching that stuff in canada. looks like you
were doing much the same in brazil?

it streams in very quickly, by the way. quite the job to do that, i imagine.
are you pushing it to the max with a contemporary broadband connection? it
seems that way. it's a bit easier to do, i'd think, in flash and director;
streaming in html, images, video, the occasional flash piece, and sound
separately, with no coordinating software, that's pretty cool, if it works,
and it does in desmemorias.

i watched several pieces today: desmorias, jess's piece, and some of jim
punk's work. all of them streaming continuously or continually. all of them
"diving into the pixel rhetoric". all of them much more interesting to me
than watching tv. all of them using the whole screen in interesting ways. i
like to see the full screen used. claiming the whole monitor for the art
piece, not acquiescing to the browser chrome, the typical frame. all of them
fast paced and making the monitor jump. all of them busting out with energy
and different ideas of net art that relate to TV and video but are way not
doing the same thing.

thanks so much! it's great to come across such strong work.

ja

Hi Jess

<stand up on their own without the music
(although its nice of you to suggest it does:)>

well…I *do* absolutely think it does.. I suppose I'm
just cautious ( and I take everything you say about
the purpose of the series) of the visceral power of
loud popular music ( which don't get me wrong, I like
in many contexts) rather overwhelming what seems to me
quite a delicate and intricate sensibility and piece
of work. I suppose I've just spent lots of time
recently thinking about & becoming more and more
gripped by linear, non interactive, non generative
sequences of images & moved and absorbed by the
smallest detail in these - the music feels like it's
competing for my attention in a rather unfair contest.
<I have also seen a lot of
your short movies in a group recently too.>
thanks for looking!
< talks about micro-
narratives? is that what you are moving towards…?>
I honestly don't have a plan -perhaps this is a
weakness - I get up in the morning and if I have time
and an idea I make a short movie, rather like making
an entry in a diary - at the moment I'm doing stuff
with found footage & -loosely- "remakes" but I'm not
interested in plowing a furrow except the bare fact of
continuing to make the sequence; content wise I try
just to do something *I'd* like to watch..
best
michael

— Jess Loseby <[email protected]> wrote:

> Hi Michael,
>
> Tryng to be back slowly, cheers:)
>
> Re the music - the trouble with using any music
> generally is it is bound not to be of
> everyones taste but the "without permission" series
> (that this work is from) is
> deliberately mixed to specific "popular" music.
> Without it you would only get half the
> story. In this one the story might be the
> disorientation between domestic and the "space
> boy". Who or what the space boy is up for grabs:)
>
> I always call these ones mixes rather that
> artworks because they aren't really supposed
> to stand up on their own without the music
> (although its nice of you to suggest it does:)
>
> Trying to catch up with nine months of threads on
> these lists, I have also seen a lot of
> your short movies in a group recently too. I notice
> with interest how your "moment
> stories" are developing into much sharper moments
> than the narrative/allegories that I
> would suggest that they previously had. Is it David
> Crawford that talks about mirco-
> narratives? is that what you are moving towards…?
>
> Jess.
>
>
>
>
> > Nice to have you back Jess!
> .One question though - does
> > it need the music? I think it holds up without…(
> and
> > personally I find the music, unlike the work
> itself,
> > somewhat banal)
> > warmest wishes
> > michael
> >
> o
> /^ rssgallery.com
> ][
>
>
>
>

Hi Michael (and Jess),

I like the music a lot and wouldn't have enjoyed the piece nearly as much without it. I think that song is very strong in and of itself, and I do agree that it is not background music for the visuals. If anything, the visuals are a sort of background meditation or visual commentary on the music. The piece foregrounds the song, treating it as something important, something worthy of serious consideration, contemplation, and dialogue. In so doing, it recontextualizes the song from yet another Bowie space song and it forces us to take this paraticular one seriously. The song is actually very profound, epic, and sweeping (about death via detatchment). All that import is already resident in the song (masked by pop music connotations). This piece just brings it out and makes us chew on it.

The piece makes me thing of Roeg's "The Man Who Fell to Earth" because both juxtapose cosmic themes with earthly normalcy. The Man Who Fell to Earth is ostensibly sci-fi, but it's got cowboy music, flashbacks to 1800s settlers, and a lot of normal mid-1970s settings. Bowie's car is a classic pimpmobile. Here's a favorite quote from the film which seems applicable to Jess's piece:

"The strange thing about television is that it doesn't tell you everything. You see everything about life on earth and yet the true mysteries remain. Perhaps that's in the nature of television, just waves in space."

curt



Michael Szpakowski wrote:

> Hi Jess
>
> <stand up on their own without the music
> (although its nice of you to suggest it does:)>
>
> well…I *do* absolutely think it does.. I suppose I'm
> just cautious ( and I take everything you say about
> the purpose of the series) of the visceral power of
> loud popular music ( which don't get me wrong, I like
> in many contexts) rather overwhelming what seems to me
> quite a delicate and intricate sensibility and piece
> of work. I suppose I've just spent lots of time
> recently thinking about & becoming more and more
> gripped by linear, non interactive, non generative
> sequences of images & moved and absorbed by the
> smallest detail in these - the music feels like it's
> competing for my attention in a rather unfair contest.
> <I have also seen a lot of
> your short movies in a group recently too.>
> thanks for looking!
> < talks about micro-
> narratives? is that what you are moving towards…?>
> I honestly don't have a plan -perhaps this is a
> weakness - I get up in the morning and if I have time
> and an idea I make a short movie, rather like making
> an entry in a diary - at the moment I'm doing stuff
> with found footage & -loosely- "remakes" but I'm not
> interested in plowing a furrow except the bare fact of
> continuing to make the sequence; content wise I try
> just to do something *I'd* like to watch..
> best
> michael

Hi Curt
fair enough - I guess we just have different tastes
here, & again I entirely take Jess's point about what
she is attempting with this series
It just feels to me like I'm being shouted at ( and I
don't care at all for Bowie which doesn't help.)
I used to teach theatre & the first assignment I used
to give students was to write & stage fully a short
autobiographical monologue, the idea being to get them
thinking practically straight away about the different
components of performance -speech, gesture, light,
design, music, sound &c.
The thing that used to really stand out was how many
students used popular music as a shortcut to semaphore
their emotional state - bunging this or that track on
& quite often doing little else.
Of course I'm not suggesting that Jess is doing
anything at all like this, just that she is not
trusting what is, in my view ( & I know you differ),
the interesting thing about this piece,her treatment
of the visuals; small, delicate,subtle.
I'm not being snotty about popular music -there's much
of it, as you know, that I love - sometimes though
it's use in pieces like this feels to me like a sort
of category error.
best
michael

— curt cloninger <[email protected]> wrote:

> Hi Michael (and Jess),
>
> I like the music a lot and wouldn't have enjoyed the
> piece nearly as much without it. I think that song
> is very strong in and of itself, and I do agree that
> it is not background music for the visuals. If
> anything, the visuals are a sort of background
> meditation or visual commentary on the music. The
> piece foregrounds the song, treating it as something
> important, something worthy of serious
> consideration, contemplation, and dialogue. In so
> doing, it recontextualizes the song from yet another
> Bowie space song and it forces us to take this
> paraticular one seriously. The song is actually
> very profound, epic, and sweeping (about death via
> detatchment). All that import is already resident
> in the song (masked by pop music connotations).
> This piece just brings it out and makes us chew on
> it.
>
> The piece makes me thing of Roeg's "The Man Who Fell
> to Earth" because both juxtapose cosmic themes with
> earthly normalcy. The Man Who Fell to Earth is
> ostensibly sci-fi, but it's got cowboy music,
> flashbacks to 1800s settlers, and a lot of normal
> mid-1970s settings. Bowie's car is a classic
> pimpmobile. Here's a favorite quote from the film
> which seems applicable to Jess's piece:
>
> "The strange thing about television is that it
> doesn't tell you everything. You see everything
> about life on earth and yet the true mysteries
> remain. Perhaps that's in the nature of television,
> just waves in space."
>
> curt
>
>
>
> Michael Szpakowski wrote:
>
> > Hi Jess
> >
> > <stand up on their own without the music
> > (although its nice of you to suggest it does:)>
> >
> > well…I *do* absolutely think it does.. I suppose
> I'm
> > just cautious ( and I take everything you say
> about
> > the purpose of the series) of the visceral power
> of
> > loud popular music ( which don't get me wrong, I
> like
> > in many contexts) rather overwhelming what seems
> to me
> > quite a delicate and intricate sensibility and
> piece
> > of work. I suppose I've just spent lots of time
> > recently thinking about & becoming more and more
> > gripped by linear, non interactive, non generative
> > sequences of images & moved and absorbed by the
> > smallest detail in these - the music feels like
> it's
> > competing for my attention in a rather unfair
> contest.
> > <I have also seen a lot of
> > your short movies in a group recently too.>
> > thanks for looking!
> > < talks about micro-
> > narratives? is that what you are moving
> towards…?>
> > I honestly don't have a plan -perhaps this is a
> > weakness - I get up in the morning and if I have
> time
> > and an idea I make a short movie, rather like
> making
> > an entry in a diary - at the moment I'm doing
> stuff
> > with found footage & -loosely- "remakes" but I'm
> not
> > interested in plowing a furrow except the bare
> fact of
> > continuing to make the sequence; content wise I
> try
> > just to do something *I'd* like to watch..
> > best
> > michael
> +
> -> post: [email protected]
> -> questions: [email protected]
> -> subscribe/unsubscribe:
> http://rhizome.org/preferences/subscribe.rhiz
> -> give: http://rhizome.org/support
> +
> Subscribers to Rhizome are subject to the terms set
> out in the
> Membership Agreement available online at
> http://rhizome.org/info/29.php
>

<?xml version="1.0" ?><html>
<head>
<title></title>
</head>
<body>
<div align="left"><font face="Arial"><span style="font-size:10pt">Hi Michael,</span></font></div>
<div align="left"><br/>
</div>
<div align="left"><font face="Arial"><span style="font-size:10pt">I think bowie is a bit like marmite (either love it or hate it) - I don't think anyone is
shouting &quot;how dare you not like marmite…&quot;&#160; I admit I adore both bowie and that
particular album, sorry:)</span></font></div>
<div align="left"><br/>
</div>
<div align="left"><font face="Arial"><span style="font-size:10pt">I'm not trying to defend the work (as I don't think you were attacking it) but honestly,
using the music with the visuals is not about trust. 90% of my work deals with the small
and subtle which I guess is why I like to dip in and out of &quot;chewy&quot; music (as curt so aptly
put it) with this series. </span></font></div>
<div align="left"><br/>
</div>
<div align="left"><font face="Arial"><span style="font-size:10pt">The other ones in the series are &quot;rsstango&quot; (Divine Comedy)&#160; </span></font><font face="Arial"><span
style="font-size:10pt">which is news you can flirt
with</span></font><font face="Arial"><span style="font-size:10pt">, &quot;</span></font><font face="Arial"><span style="font-size:10pt">jellynet&quot;</span></font><font face="Arial"><span
style="font-size:10pt"> (scissor sisters) which is apathy with you can dance to,&#160; &quot;textual tango&quot;
(sting/moulin rouge) sexy noncommunication and Lapdance (Pucinni) which is - well just
that. All of these (visually) are rooted in &quot;the domestic&quot; as I am but&#160; - because of the
music and lyrics - become something transgressed, something&#160; stolen - as I did when I
first listened to my fav tunes and forcibly made them applicable to me and my
circumstances…</span></font></div>
<div align="left"><br/>
</div>
<div align="left"><font face="Arial"><span style="font-size:10pt">Perhaps montage/mixing (moving or static) is always and emotional takeover bid….?
Your pelinger archive movs also allow you to step outside of the&#160; {visual] material that is
immediately available to you normally - but that wouldn't suggest for a second that you
did not trust your own…?</span></font></div>
<div align="left"><br/>
</div>
<div align="left"><br/>
</div>
<div align="left"><font face="Arial"><span style="font-size:10pt">cheers,</span></font></div>
<div align="left"><font face="Arial"><span style="font-size:10pt">jess.</span></font></div>
<div align="left"><br/></div>
<div align="left"><br/>
</div>
<div align="left"><font face="Arial" color="#7f0000"><span style="font-size:10pt">&gt; Hi Curt</span></font></div>
<div align="left"><font face="Arial" color="#7f0000"><span style="font-size:10pt">&gt; fair enough - I guess we just have different tastes</span></font></div>
<div align="left"><font face="Arial" color="#7f0000"><span style="font-size:10pt">&gt; here, &amp; again I entirely take Jess's point about what</span></font></div>
<div align="left"><font face="Arial" color="#7f0000"><span style="font-size:10pt">&gt; she is attempting with this series</span></font></div>
<div align="left"><font face="Arial" color="#7f0000"><span style="font-size:10pt">&gt; It just feels to me like I'm being shouted at ( and I</span></font></div>
<div align="left"><font face="Arial" color="#7f0000"><span style="font-size:10pt">&gt; don't care at all for Bowie which doesn't help.)</span></font></div>
<div align="left"><font face="Arial" color="#7f0000"><span style="font-size:10pt">&gt; I used to teach theatre &amp; the first assignment I used</span></font></div>
<div align="left"><font face="Arial" color="#7f0000"><span style="font-size:10pt">&gt; to give students was to write &amp; stage fully a short</span></font></div>
<div align="left"><font face="Arial" color="#7f0000"><span style="font-size:10pt">&gt; autobiographical monologue, the idea being to get thempelinger</span></font></div>
<div align="left"><font face="Arial" color="#7f0000"><span style="font-size:10pt">&gt; thinking practically straight away about the different</span></font></div>
<div align="left"><font face="Arial" color="#7f0000"><span style="font-size:10pt">&gt; components of performance -speech, gesture, light,</span></font></div>
<div align="left"><font face="Arial" color="#7f0000"><span style="font-size:10pt">&gt; design, music, sound &amp;c.</span></font></div>
<div align="left"><font face="Arial" color="#7f0000"><span style="font-size:10pt">&gt; The thing that used to really stand out was how many</span></font></div>
<div align="left"><font face="Arial" color="#7f0000"><span style="font-size:10pt">&gt; students used popular music as a shortcut to semaphore</span></font></div>
<div align="left"><font face="Arial" color="#7f0000"><span style="font-size:10pt">&gt; their emotional state - bunging this or that track on</span></font></div>
<div align="left"><font face="Arial" color="#7f0000"><span style="font-size:10pt">&gt; &amp; quite often doing little else.</span></font></div>
<div align="left"><font face="Arial" color="#7f0000"><span style="font-size:10pt">&gt; Of course I'm not suggesting that Jess is doing</span></font></div>
<div align="left"><font face="Arial" color="#7f0000"><span style="font-size:10pt">&gt; anything at all like this, just that she is not</span></font></div>
<div align="left"><font face="Arial" color="#7f0000"><span style="font-size:10pt">&gt; trusting what is, in my view ( &amp; I know you differ),</span></font></div>
<div align="left"><font face="Arial" color="#7f0000"><span style="font-size:10pt">&gt; the interesting thing about this piece,her treatment</span></font></div>
<div align="left"><font face="Arial" color="#7f0000"><span style="font-size:10pt">&gt; of the visuals; small, delicate,subtle.</span></font></div>
<div align="left"><font face="Arial" color="#7f0000"><span style="font-size:10pt">&gt; I'm not being snotty about popular music -there's much</span></font></div>
<div align="left"><font face="Arial" color="#7f0000"><span style="font-size:10pt">&gt; of it, as you know, that I love - sometimes though</span></font></div>
<div align="left"><font face="Arial" color="#7f0000"><span style="font-size:10pt">&gt; it's use in pieces like this feels to me like a sort</span></font></div>
<div align="left"><font face="Arial" color="#7f0000"><span style="font-size:10pt">&gt; of category error.</span></font></div>
<div align="left"><font face="Arial" color="#7f0000"><span style="font-size:10pt">&gt; best</span></font></div>
<div align="left"><font face="Arial" color="#7f0000"><span style="font-size:10pt">&gt; michael</span></font></div>
<div align="left"><font face="Arial" color="#7f0000"><span style="font-size:10pt">&gt; </span></font></div>
<div align="left"><br/></div>
<div align="left"><font face="Arial"><span style="font-size:10pt"> o</span></font></div>
<div align="left"><font face="Arial"><span style="font-size:10pt">/^ rssgallery.com</span></font></div>
<div align="left"><font face="Arial"><span style="font-size:10pt"> ][</span></font></div>
</body>
</html>

Hi all

Just wanted to let you know I linked the piece to my blog at http://
nznl.com/blog.shtml

Actually think of the music as a caption (of course I use captions
all the time in my own work) – as a way of taking the viewer by the
hand, to guide to the unknown using something known.

Geert
http://nznl.com


On 22-sep-2005, at 21:59, Michael Szpakowski wrote:

> Hi Curt
> fair enough - I guess we just have different tastes
> here, & again I entirely take Jess's point about what
> she is attempting with this series
> It just feels to me like I'm being shouted at ( and I
> don't care at all for Bowie which doesn't help.)
> I used to teach theatre & the first assignment I used
> to give students was to write & stage fully a short
> autobiographical monologue, the idea being to get them
> thinking practically straight away about the different
> components of performance -speech, gesture, light,
> design, music, sound &c.
> The thing that used to really stand out was how many
> students used popular music as a shortcut to semaphore
> their emotional state - bunging this or that track on
> & quite often doing little else.
> Of course I'm not suggesting that Jess is doing
> anything at all like this, just that she is not
> trusting what is, in my view ( & I know you differ),
> the interesting thing about this piece,her treatment
> of the visuals; small, delicate,subtle.
> I'm not being snotty about popular music -there's much
> of it, as you know, that I love - sometimes though
> it's use in pieces like this feels to me like a sort
> of category error.
> best
> michael
>
> — curt cloninger <[email protected]> wrote:
>
>
>> Hi Michael (and Jess),
>>
>> I like the music a lot and wouldn't have enjoyed the
>> piece nearly as much without it. I think that song
>> is very strong in and of itself, and I do agree that
>> it is not background music for the visuals. If
>> anything, the visuals are a sort of background
>> meditation or visual commentary on the music. The
>> piece foregrounds the song, treating it as something
>> important, something worthy of serious
>> consideration, contemplation, and dialogue. In so
>> doing, it recontextualizes the song from yet another
>> Bowie space song and it forces us to take this
>> paraticular one seriously. The song is actually
>> very profound, epic, and sweeping (about death via
>> detatchment). All that import is already resident
>> in the song (masked by pop music connotations).
>> This piece just brings it out and makes us chew on
>> it.
>>
>> The piece makes me thing of Roeg's "The Man Who Fell
>> to Earth" because both juxtapose cosmic themes with
>> earthly normalcy. The Man Who Fell to Earth is
>> ostensibly sci-fi, but it's got cowboy music,
>> flashbacks to 1800s settlers, and a lot of normal
>> mid-1970s settings. Bowie's car is a classic
>> pimpmobile. Here's a favorite quote from the film
>> which seems applicable to Jess's piece:
>>
>> "The strange thing about television is that it
>> doesn't tell you everything. You see everything
>> about life on earth and yet the true mysteries
>> remain. Perhaps that's in the nature of television,
>> just waves in space."
>>
>> curt
>>
>>
>>
>> Michael Szpakowski wrote:
>>
>>
>>> Hi Jess
>>>
>>> <stand up on their own without the music
>>> (although its nice of you to suggest it does:)>
>>>
>>> well…I *do* absolutely think it does.. I suppose
>>>
>> I'm
>>
>>> just cautious ( and I take everything you say
>>>
>> about
>>
>>> the purpose of the series) of the visceral power
>>>
>> of
>>
>>> loud popular music ( which don't get me wrong, I
>>>
>> like
>>
>>> in many contexts) rather overwhelming what seems
>>>
>> to me
>>
>>> quite a delicate and intricate sensibility and
>>>
>> piece
>>
>>> of work. I suppose I've just spent lots of time
>>> recently thinking about & becoming more and more
>>> gripped by linear, non interactive, non generative
>>> sequences of images & moved and absorbed by the
>>> smallest detail in these - the music feels like
>>>
>> it's
>>
>>> competing for my attention in a rather unfair
>>>
>> contest.
>>
>>> <I have also seen a lot of
>>> your short movies in a group recently too.>
>>> thanks for looking!
>>> < talks about micro-
>>> narratives? is that what you are moving
>>>
>> towards…?>
>>
>>> I honestly don't have a plan -perhaps this is a
>>> weakness - I get up in the morning and if I have
>>>
>> time
>>
>>> and an idea I make a short movie, rather like
>>>
>> making
>>
>>> an entry in a diary - at the moment I'm doing
>>>
>> stuff
>>
>>> with found footage & -loosely- "remakes" but I'm
>>>
>> not
>>
>>> interested in plowing a furrow except the bare
>>>
>> fact of
>>
>>> continuing to make the sequence; content wise I
>>>
>> try
>>
>>> just to do something *I'd* like to watch..
>>> best
>>> michael
>>>
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I'm a fan of your work Jess as you know ( and I've
enjoyed the other pieces I've seen in this series; got
a bollocking here from T Whid in fact for enthusing
about "lapdance"). It's such a fine point I'm not sure
how worth pushing it is - I suppose rather than just
burbling about how great the piece was I wanted to
state some honest reservations.
Having said that I can't *resist* one rejoinder & that
is that the Prelinger archive stuff invariably
involves me working on the material to transform it.
For me the parallel here is with the visuals in your
piece ( I think you said some of it was harvested from
the web)
The Bowie just sits there, nothing is done to it,
*although* I accept and am thinking about Curt's point
( which I think you are making as well) about the
visuals *illuminating* the sound, a kind of
commentary..(thinks).. OK … I'm coming round to it
procedurally; back to *taste* on the actual work of
Bowie , or marmite; now *that* I do so love.
warmest wishes
michael


— Jess Loseby <[email protected]> wrote:


———————————
Hi Michael,


I think bowie is a bit like marmite (either love it or
hate it) - I don't think anyone is shouting "how dare
you not like marmite…"

Hi Michael n' Jess,

http://playdamage.org is full of pop audio, but the source audio is transformed by lifting tiny, quintessential bits out of context, looping them (sometimes synchopatedly), and compressing their sound quality. So I'd see that more as the equivalent of the prelinger visual remix approach.

I do hate it when my students just put a full, high quality pop song as the background music for their pieces for no conceptual reason whatsoever. But the thing I like about Jess's piece is that the visuals are in such a weird intentional dialogue with the song. They are very tightly synched to the rhythm of the song, so much so that they almost feel like they are being driven by the audio via a synesthetic MAX/MSP bridge. And yet the content of the images is so un-outer-spacy.

I freely admit that Bowie is a guilty pleasure. Not just Low/Heroes era with Eno. I even like "China Girl."

curt



Michael Szpakowski wrote:

> I'm a fan of your work Jess as you know ( and I've
> enjoyed the other pieces I've seen in this series; got
> a bollocking here from T Whid in fact for enthusing
> about "lapdance"). It's such a fine point I'm not sure
> how worth pushing it is - I suppose rather than just
> burbling about how great the piece was I wanted to
> state some honest reservations.
> Having said that I can't *resist* one rejoinder & that
> is that the Prelinger archive stuff invariably
> involves me working on the material to transform it.
> For me the parallel here is with the visuals in your
> piece ( I think you said some of it was harvested from
> the web)
> The Bowie just sits there, nothing is done to it,
> *although* I accept and am thinking about Curt's point
> ( which I think you are making as well) about the
> visuals *illuminating* the sound, a kind of
> commentary..(thinks).. OK … I'm coming round to it
> procedurally; back to *taste* on the actual work of
> Bowie , or marmite; now *that* I do so love.
> warmest wishes
> michael