When we first started work on Friday morning, Michael and I started brainstorming what we wanted to accomplish: something visual, high-concept (i.e. explainable in a tweet), and hopefully with a sense of humor.
We quickly realized that our interest in supercuts was fertile ground. Michael's work often touches on structural re-edits and remixes, such as Oonce-Oonce, Battleship Potemkin: Dance Edit, Chapters 1-12 of R. Kelly's Trapped in the Closet Synced and Played Simultaneously, and his mashup album mixing pop vocals over their ringtone versions.
Both of us were fascinated by this form of Internet folk art. Every supercut is a labor of love. Making one is incredibly time-consuming, taking days or weeks to compile and edit a single video. Most are created by pop culture fans, but they've also been used for film criticism and political commentary. It's a natural byproduct of remix culture: people using sampling to convey a single message, made possible by the ready availability of online video and cheap editing software.
So, supercuts. But what? Making a single supercut seemed cheap. I first suggested making a visual index of supercuts, or a visualization of every clip.
But Michael had a better idea — going meta. We were going to build a SUPERSUPERCUT, a supercut composed entirely out of other supercuts. And, if we had time, we'd make a dedicated supercut index...
BBC posts the trailer for the upcoming Adam Curtis documentary, "All Watched Over by Machines of Loving Grace." It airs Monday May 23 at 9pm on BBC2. Curtis' previous documentaries (It Felt Like a Kiss, Century of the Self, The Power of Nightmares, etc) are available streaming free online at archive.org.
The “OS” stands for either “open source” or “operating system,” and the German term Grabeland means land for digging, particularly land left over from allotments leased to people during World War I and World War II so they could grow food. As with our ongoing project International Airport Montello, we used eBay to purchase land, but this time we purchased a set of allotment gardens in Dewitz, a village north of Berlin. We became the landlords of a 36,000-square-foot plot of land with eight remaining tenants and seven feral lots. After receiving complaints from our tenants about the lack of access to water, we suggested that we dig a well, an idea our tenants rejected. Their complaint provided us with a connection to the land and the people of Dewitz, and over the past several years we have searched for water in different ways. We have used this exploration both as a motif and as a means of turning the local into the global and connecting the plot in Dewitz with land in northeast Nevada. The water of the Atlantic geographically separates Dewitz and Oasis, but the lack of access to water connects the two sites. — eteam discusses OS GRABELAND in ArtForum
Links for your weekend:
Shana Moulton at Lower Manhattan Cultural Council Open Studios May 13-15th:
7:30 pm - Friday the 13th (with Rachel Mason LIVE)
3:00 pm - Saturday the 14th
3:00 pm - Sunday the 15th
(Re)Move/(Re)Frame Performances by: Brody Condon, Shana Moulton, and Yemenwed May 1–May 22, 2011 Curated by Courtney Malick (Re)Move/(Re)Frame presents three performances occurring at different times and places and explores the possibilities of exhibiting performance documentation inviting viewers to participate in the documentary process via the project's accompanying website at: www.r-e-m-o-v-e.info