Essai d’ouverture is a 1988 short French film by Luc Moullet. It’s about a man and his many bizarre approaches to opening a Coca-Cola bottle.
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Essai d’ouverture is a 1988 short French film by Luc Moullet. It’s about a man and his many bizarre approaches to opening a Coca-Cola bottle.
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I really enjoyed watching this video published on People Make Games YouTube channel. It gives an amazing perspective on the topic of virtual worlds beyond hype and corporate bullshit.
Michael Moynihan: “Can you explain to people who might be confused as why a very smart, sensible man like yourself, would spend 500,000 dollars on a jpeg?”
Metakovan (aka the most famous cryptoart collector): “I can have it forever because it’s on the blockchain, I DON’T LOSE IT and IT DOES NOT GO BAD”.
YouTuber Lucas Rizzotto fitted his microwave with voice-controlled AI in order to resurrect his childhood imaginary friend “Magnetron”. But at some point things got scary…
“Organic Smiles Cereal Commercial” is an analog horror video made by Nathan Frost. With a great backstory:
“On August 23rd, 2015, a user posted on a message board and asked “what’s a scary story that freaked you out when you were younger?” a user responded by saying ” My grandfather used to always tell me a story about a commercial test screening that he and his friends went to when he was younger. He always told me that it was a Cereal advertisement from a company called Organic Smiles. I’ve looked up the brand and it literally does not exist. He said that the commercial had distorted-faced mannequin women and long blood faces. He didn’t watch the whole thing as he ran out of the theater crying but his friends did watch it all and were absolutely traumatized by it. Later that year he said all the people who attended that screening went missing. At the time I totally believed it but now I realized that he had to have been screwing with me, but he always had a serious look on his face when he told me about it.
The response at the time didn’t gain much traction until a year later on September 4th when the same user that posted the story said they found the supposed commercial on film tape that was mailed to him somehow. Later that day the user started posting screenshots of it showing its authenticity and proving it was real. Other users were getting excited and many were highly anticipating it.”
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For the past several years, artist Joshua Citarella has targeted his research-based practice on the political behaviors of the young and very online. Jacob Hurwitz-Goodman has similarly used his documentary practice to investigate emergent political modes like Seasteading. Together in When Guys Turn 20, they explore how users across the political spectrum deploy memetic tactics on social media, as well as how the rhetoric and reality of Silicon Valley diverge.
Cycling through a variety of locales and roles (teacher, Twitch streamer, prisoner, Sith Lord), Citarella narrates online political methods and mechanisms of propaganda. From MMORPGs as a proof-case for socialism to the tricks of meme extremists to the problems of Big Tech, When Guys Turn 20 offers a behind-the-servers glimpse into various expressions of platform capitalism.
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Life on the CAPS is a film trilogy by artist Meriem Bennani. It is set on a fictional island where American troopers have exiled immigrants who attempted to enter America via teleportation. In the world of the CAPS, teleportation has replaced air travel, and displaced populations utilize this portal to cross oceans and borders. Layering live action footage and computer-generated animation, Bennani intuitively adapts editing techniques that evoke documentary film, science-fiction, phone footage, music videos, and reality TV.
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A video essay by Max Tohline.
“Three years in the making, this feature-length pop-academic investigation of the SUPERCUT asks where supercuts came from, how they hold our attention, and why they became so popular when they did. Tracing back the genetic lines of experimental film, fan remix, documentary, news, and more, this video essay uncovers the roots of the supercut well before YouTube: back in the 1920s and beyond. These multiple interlocking genealogies reveal that the supercut isn’t just a new form of compilation editing; rather, it’s a new way of thinking expressed by a mode of editing. In fact, the supercut is only a small part of a much larger story about a culture that traded one paradigm of knowledge and power, that of the archive, for a new one: the database.”
The Whole Earth – California as Dialectic Image. From Counterculture to Cyberculture. Keynote by Fred Turner (21.6.2013) – www.hkw.de
I found THIS TikTok account.
The Backrooms is my favorite creepypasta. Legend has it that if you’re not careful and accidentally “noclip out of reality,” you can end up in the Backrooms, an endless series of yellow rooms with musty carpeting, neon lights and a constant buzz in the background. A few weeks ago, Kane Parsons – a.k.a. Kane Pixels – a 16-year-old filmmaker, produced a short film inspired by this mythical place. Instant classic.
Normally, there’s nothing I skip faster than ASMR videos.
BUT THEN THIS COMES ALONG.
This is way TOO accurate.
This is the best McLuhan conversation I found so far:
Marshall McLuhan in Conversation with Norman Mailer, 1968
[Mailer]Look Marshall, we’re both agreed that man is accelerating at an extraordinary rate into a super-technological world, if you will. And that the modes and methods by which men instruct themselves and are instructed are shifting in extraordinary –
[McLuhan]We’ve gone into orbit.
[Mailer]Well, at the same time I would say there’s something profoundly autoerotic about this process, and it’s sinister for that reason.
[McLuhan]It’s psychedelic. When you step up the environment to those speeds, you create the psychedelic thrill. The whole world becomes kaleidoscopic, and you go inward, by the way. It’s an inner trip, not an outer trip.
Welcome to Cryptoland, “a physical representation of the metaverse”. Wait, what?
One of the first computer made animated characters was (of course) a cat.
This video was made in 1968 by a group of soviet physicists and mathematicians.
Nam June Paik’s predictions on #television, #museums and #drugs.
[source: Letter to Messrs Lloyd and Klein (“It was a heavy earthquake … “), Dated February 10,1971. Typescript (copy) with handwritten notes in ink. Two single-sided pages, each: 10% x 8V2 in. (27.3 x 21.6 cm). Smithsonian American Art Museum, Nam June Paik Archive (Box 2, Folder 18); Gift of the Nam June Paik Estate. ONLINE HERE]
RGBFAQ, by Alan Warburton, traces the trajectory of computer graphics from WW2 to Bell Labs in the 1960s, from the visual effects studios of the 1990s to the GPU-assisted algorithms of the latest machine learning models.