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Re: Flash Explores New Angles

on 8/18/02 1:16 PM, t.whid ecrit :

> Flash Explores New Angles
> Macromedia's Flash MX allows users to do a number of cool tricks,
> including switching instantaneously between video clips.
> ++
> this isn't the best article but it remindend me that when i first read
> flash MX's specs i was excited about what i imagined net / web artists
> might do with video and actionscript. and i'm dissappointed that i
> haven't seen anything yet.

It's not the tricks that artist necessarily create their art around. That's
only second to the content. Maybe no one (at this particular moment in time)
has any ideas that can make use this technology.

- -

"The technique gives "a better view than you'd get if you were actually
there," he said. "If you were in the stands, you'd get one angle


Re: Fwd: video

on 8/17/02 3:15 AM, natalie myers ecrit :

> so fuck you king give me a break you fuck ya i siad it



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v.._.|| |i.v_.v.._.|| |i.v_._v.._.|| |i.v_._v.._.|| |i.v_._v.._.|| |i.v_._
"Sometimes dead is better." - Pet Semetary


Re: Fwd: video

on 8/16/02 1:11 PM, natalie myers ecrit :

> i am sorry you have to download this but could someone please help me out this
> is a test - for video i did i am trying to figure out somthings any feed back
> would be great -natalie
> Note: forwarded message attached.



,_, ,_, ,_, ,_, ,_,
/| | /| | /| | /| | /| |
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/|___ ___| /|___ ___| /|___ ___| /|___ ___| /|___ ___|
|/___/| |__/ |/___/| |__/ |/___/| |__/ |/___/| |__/ |/___/| |__/
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v.._.|| |i.v_.v.._.|| |i.v_._v.._.|| |i.v_._v.._.|| |i.v_._v.._.|| |i.v_._
"Sometimes dead is better." - Pet Semetary


Re: this is max !!!!!!!!!

> wrote: In a message dated 8/16/2002 10:32:32 AM

> Nah, I have to buy a new one. It's five years old now plus we had a
> power outage in my neighborhood last week, cooked it good! I'm holding
> my hand over the screen just to see these typing words even.

Tres Tragic, too bad your not in New York, lots of Monitors to be gleaned
on the streets.

> I might buy a used one today, plus a couple books at the used bookstore:

Glean for the monitor and forget the books, rent "The Gleaners and I" by
Agnes Varda. It a wonderful documentary good tips on gleaning and getting
along in the streets. It's set in France but I assume it's possible to
glean in the U.S.A. There is something really beautiful about this film
that I think you'd like, I mean, after reading the transcript of G2k and
looking at some of the stills,(you promised to send me the video but I
never received it), I think there is some sort of relation to the type of
film making you present. (Although I have to admit, Agnes Varda at 72 with
29 other pieces behind her, you are no comparison to her, but rather
someone to learn from.)

It's also interesting to catch a glimpse of the less fortunate of France,
the ones who live way out in the suburbs, the ones you forget about when
visiting the Louvre because for some reason or another they have a good
way of hiding them. On a tangent now I am remembering the amount of
Homeless in New York back in 1993 and how Gulliani, the mayor, somehow
swept them out of the publics views, like a magician. Since the economic
downturn there seems to be more of them in the city.

Les Glaneurs et la glaneuse (2000)
The Gleaners and I
by Agnes Varda

"If you'd be the first to grab a heart-shaped potato from the harvest, or
make a pile of discarded dolls into a totem pole, THE GLEANERS is probably
your kind of thing." -(
Santa Fe, NM



The Gleaners and I

Great review of "The Gleaners and I" by Agnes Varda 2000:

Santa Fe, NM

Date: 1 May 2001
Summary: another thought-provoking, humanistic beauty from Agnes Varda

You may remember director Agnes Varda from her 1986 film, VAGABOND. [** I
actually remeber her for my favorite "The Kungfu Master or the french
title "Le Petit Amour" -muse**] But over the last five decades, the
`grandmother of French New Wave' has completed 29 other works, most
showing her affection, bemusement, outrage, and wide-ranging curiosity for

Varda's most recent effort-the first filmed with a digital
videocamera-focuses on gleaners, those who gather the spoils left after a
harvest, as well as those who mine the trash. Some completely exist on the
leavings; others turn them into art, exercise their ethics, or simply have
fun. The director likens gleaning to her own profession-that of collecting
images, stories, fragments of sound, light, and color.

In this hybrid of documentary and reflection, Varda raises a number of
philosophical questions. Has the bottom line replaced our concern with
others' well-being, even on the most essential level of food? What happens
to those who opt out of our consumerist society? And even, What
constitutes--or reconstitutes--art?

Along this road trip, she interviews plenty of French characters. We meet
a man who has survived almost completely on trash for 15 years. Though he
has a job and other trappings, for him it is `a matter of ethics.'
Another, who holds a master's degree in biology, sells newspapers and
lives in a homeless shelter, scavenges food from market, and spends his
nights teaching African immigrants to read and write.

Varda is an old hippie, and her sympathies clearly lie with such
characters who choose to live off the grid. She takes our frenetically
consuming society to task and suggests that learning how to live more
simply is vital to our survival.

At times we can almost visualize her clucking and wagging her finger-a tad
heavy-handedly advancing her agenda. However, the sheer waste of 25 tons
of food at a clip is legitimately something to cluck about. And it is her
very willingness to make direct statements and NOT sit on the fence that
Varda fans most enjoy, knowing that her indignation is deeply rooted in
her love of humanity.

The director interjects her playful humor as well-though it's subtle,
French humor that differs widely from that of, say, Tom Green. Take the
judge in full robes who stands in a cabbage field citing the legality of
gleaning chapter and verse.

Quirky and exuberant, Varda, 72, is at an age where she's more concerned
with having fun with her craft than impressing anyone. With her handheld
digital toy, she pans around her house and pauses to appreciate a patch of
ceiling mold. When she later forgets to turn off her camera, she films
`the dance of the lens cap.'

One of the picture's undercurrents is the cycle of life-growth, harvest,
decay. She often films her wrinkled hands and speaks directly about her
aging process, suggesting that her own mortality is much on her mind. The
gleaners pluck the fruits before their decay, as Varda lives life to the
fullest, defying the inevitability of death. Toward the movie's end, she
salvages a Lucite clock with no hands. As she films her face passing
behind it, she notes, `A clock with no hands is my kind of thing.'

If you'd be the first to grab a heart-shaped potato from the harvest, or
make a pile of discarded dolls into a totem pole, THE GLEANERS is probably
your kind of thing.