Color-coded Vinyl shows the History of Electronic Music
YT Direktcolors, via Marc
Tolles Konzept von Benjamin Brunn und der Designagentur Kolle Rebbe, die zusammen ein 4er-Vinyl-Set entworfen haben, deren Tracks die Geschichte der elektronischen Musik erzählen und die durch einen Farb-Code in coloriertem Vinyl visualisiert werden, wobei die Farben für musikalische Genres stehen. Von Youtube:
The limited edition of Colour Tracks on 4×12″ records are as much a navigation system as a tool: using the colour key, DJs can decide which form of techno they want to choose. The Colour Tracks strike eyes and ears equally and cover the full range of electronic music in 19 tracks. By overcoming a major technical challenge it was for the first time possible to precisely tailor the design of a vinyl record to the music it contains. Each track is composed by Brunn and each style is visualized through the allocation of a colour. Every colour stands for one electronic genre and every track is precisely as long as the strip of colour is wide.
Included in the booklet is the 13-piece colour chart and information about each track (genre, tempo, how it was made etc.) as well as an interview with the artist.
Colour Tracks, gibt’s hier im Shop von Hanseplatte zu kaufen: Benjamin Brunn: COLOUR TRACKS – DIE GESCHICHTE VON TECHNO IN FARBEN!
Doku: A History of Horror with Mark Gatiss
YT Direkthorror, via Swen
Schöne Doku der BBC: “Three-part series in which actor and writer Mark Gatiss (The League of Gentlemen, Doctor Who, Sherlock) celebrates the greatest achievements of horror cinema. A lifelong fan of the genre, Mark begins by exploring the golden age of Hollywood horror. From the late 1920s until the 1940s, a succession of classic pictures and unforgettable actors defined the horror genre.”
Oben der erste Teil “Frankenstein Goes to Hollywood” über die Horrorfilme von 1920 bis 40, hier die Links zu Episode 2 und 3.
David Cronenbergs Cosmopolis-Trailer
Der Trailer zu David Cronenbergs Cosmopolis sieht nach seinen Ausflügen in die Psychologie (Spider, History of Violence, A Dangerous Method) wieder nach waschechtem Cronenberg-SciFi aus, ein bisschen wie eXistenZ ohne Games oder Scanners ohne Köpfe. Ich bin sehr, sehr gespannt. Hier der Plot:
New York City, not-too-distant-future: Eric Packer, a 28 year-old finance golden boy dreaming of living in a civilization ahead of this one, watches a dark shadow cast over the firmament of the Wall Street galaxy, of which he is the uncontested king. As he is chauffeured across midtown Manhattan to get a haircut at his father’s old barber, his anxious eyes are glued to the yuan’s exchange rate: it is mounting against all expectations, destroying Eric’s bet against it. Eric Packer is losing his empire with every tick of the clock. Meanwhile, an eruption of wild activity unfolds in the city’s streets. Petrified as the threats of the real world infringe upon his cloud of virtual convictions, his paranoia intensifies during the course of his 24-hour cross-town odyssey. Packer starts to piece together clues that lead him to a most terrifying secret: his imminent assassination.
Cronenberg revisits subjects that fascinate him: how the organic and the psychological are inextricably intertwined, society’s anxieties and phobias, and letting repressed impulses and paranoia run wild. COSMOPOLIS is a culmination of his masterpieces that addresses the alarming global financial crisis of today’s world.
Robert Crumb-Exhibit at MoMA Paris
Arte war in der Robert Crumb-Ausstellung im MoMA in Paris, wo sie noch bis zum August eine Retrospektive seiner Arbeiten zeigen. Und: Paul Gravett hatte Crumb zur Ausstellung für das Magazin Art Review interviewt und hat das ungekürzt auf seiner Website veröffentlicht, Snip:
What are you digging into now?
In the last few years, I’ve got so deeply involved investigating scandalous shit that goes on in modern business and culture. It’s very difficult to interpret in comics, I’m trying to figure it out. There’s not a lot of action or humour, it’s serious, grim shit. You could get your ass in trouble doing that, too. I remember when I did this thing in the Seventies, ‘Frosty the Snowman’, where I had him being this revolutionary who throws bombs at the Rockefeller mansion and shortly after that was published, the Internal Revenue Service came after me.
I remember, you got a big tax bill around that time.
Yeah and I believe they wanted to neutralise me. In fact, I heard from a guy I met recently who used to work for a security agency, and he said, ‘Oh, Crumb, I heard that you had been neutralised!’ I worry about that a little bit, you know! If you dig up underneath the surface and publicise it on a large scale like I would do in my work, the forces of power…
That’s presuming you can find a publisher for it…
There are publishers who would probably do it, though they would be smaller publishers. Since it’s my work, they would probably do it. It’s true, with a big publisher, it would be difficult.
Mashup of the seven GEMA/Youtube-Tracks
In den Comments zu meinem Posting zum Youtube/GEMA-Urteil hat der Musikpartisane ein Mashup aus den sieben Tracks gepostet, die laut dem Landgericht Hamburg von YT gelöscht werden müssen.
im Gerichtsurteil gestern ging es ja um 7 Lieder, die YouTube löschen muss. Die werden wir jetzt leider niemals mehr auf YouTube hören können. Daher dachte der Musikpartisane, es wäre an der Zeit, diesen 7 Liedern ein Denkmal zu setzen in Form eines Mashups: “Lieder, die wie Brücken sind, die braucht jeder Mann, jede Frau und jedes Kind”. Da diese Lieder auf YouTube keine Brücken mehr bauen werden, sind sie nun hier vereint in wohliger Harmonie.
7 Lieder, die die Welt verändern: Das ultimative Gema-Mashup
Movie Mimic
Allen Fuqua reist durch die Welt, besucht Film-Locations und stellt Szenen nach: Movie Mimic.
Doll-eating Man:
File under: Put the Lotion in the basket! Man carrying doll’s head terrifies Brisbane rail commuters: “Some reports suggested the man had been sniffing and eating the dolls on the train around 7pm on Tuesday night. [...] police found a bag of dolls – some of which had bald patches on their heads where the man apparently gnaws at them.”
Rebecca Allen, Digitizer of Kraftwerks’ Heads
Wired hat ein Interview und ein paar sehr schöne Bilder aus dem Archiv von Rebecca Allen, die damals die Köpfe von Kraftwerk für ihr Video zu “Musique Non Stop” digitalisierte. Das Video ist selbstverständlich nicht in diesem Land verfügbar.
When Kraftwerk needed a video to match its electronic music nearly three decades ago, the band turned to Rebecca Allen, a pioneer in the field of computer art. Allen was the creative genius at the helm for 1986′s “Musique Non Stop,” one of the earliest examples of rendered 3-D graphics in a music video.
Creating the milestone video, which made Allen a major force behind the German band’s visual aesthetic in the ’80s, was a painstaking process that took nearly two years for Allen and her team at the New York Institute of Technology’s Computer Graphics Laboratory to complete. “Nowadays you can pretty easily digitize a 3-D object,” said Allen in an interview with Wired. “Back then, it was a very crafted process. I would have to put little pieces of tape over the models…. Then you put it in this reference cube, and then point by point you’d digitize.” [...]
“There’s so much involved — not just the color, but then you had to get the lighting … and it’s on some crummy TV, ultimately,” said Allen, now a design professor at UCLA. “But that’s the way I am. If you’re an animator, it’s already clear that you’re a fanatic — an obsessive. Anybody who wants to make frames for every second of movement is obviously pretty obsessive about things.”
The History of <blink>
Der ehemalige Netscape-Entwickler Lou Montulli erzählt die Geschichte hinter dem -Tag: Eine Lovestory mit viel Alkohol, die zu einem der nervendsten HTML-Tags führte.
The bar was the St. James Infirmary and it had a 30 foot wonder woman statue inside among other interesting things. At some point in the evening I mentioned that it was sad that Lynx was not going to be able to display many of the HTML extensions that we were proposing, I also pointed out that the only text style that Lynx could exploit given its environment was blinking text. We had a pretty good laugh at the thought of blinking text, and talked about blinking this and that and how absurd the whole thing would be. The evening progressed pretty normally from there, with a fair amount more drinking and me meeting the girl who would later become my first wife.
Saturday morning rolled around and I headed into the office only to find what else but, blinking text. It was on the screen blinking in all its glory, and in the browser. How could this be, you might ask? It turns out that one of the engineers liked my idea so much that he left the bar sometime past midnight, returned to the office and implemented the blink tag overnight.
Liars – No.1 Against The Rush
Killerclip für die neue Single der Liars, der bis zur letzten Sekunde immer verstörender wird.
Lost in Space-Robot-Cake
Von Cakes with Character in New York. Ein Robby the Robot-Kuchen wäre mir ja lieber gewesen, aber man isst, was man kriegt.
Obey the Giant: Crowdfunded Biopic about Shepard Fairey
Julian Marshall hat einen Film über Shepard “Obey Giant” Faireys Anfänge gedreht und finaziert sich die Post-Production jetzt über Kickstarter. Snip:
I recently directed a short narrative film about the early life of Shepard Fairey and the origin story of his OBEY GIANT street art campaign. The film is set in Providence, RI, in 1990 when Shepard was studying illustration at RISD. In an illustration class, titled Style and Substance, Shepard received a historic assignment that would later establish his legacy in Providence. Each student in the class was given a fortune cookie, and tasked with illustrating his or her respective fortune. Shepard’s fortune read: TO AFFECT THE QUALITY OF THE DAY IS NO SMALL ACHIEVEMENT. He then decided to paste his Andre graphic over the face of notorious then-Mayor of Providence, Buddy Cianci, on his re-election billboard, located in the heart of the city. [...]
Based on the true story of Shepard Fairey’s first act of street art, OBEY THE GIANT tells the story of a young skate punk challenging a big-city mayor and the powers-that-be at art school. Frustrated by his inability to gain respect within the confines of art school Shepard sets out to gain notoriety and acclaim by targeting the most powerful man in Providence, former Mayor Buddy Cianci. Risking expulsion and jail time Shepard plasters Andre the Giant’s face over the image of Cianci on a campaign billboard. As word of Shepard’s prank gets out, Shepard learns that art is a weapon and attention is both a blessing and a curse.
Cockroach Memorials
Carmichael Lynch aus Minneapolis macht Miniatur-Gedenkveranstaltungen für tote Kakerlaken. ‘Ne Handvoll Bilder gibt’s auf seiner Website.
