Andy Warhol’s Computer Art

Andy and an Amiga 1000 in video. Humorous, digital archae­ology. 

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24 Hours of Happy

24HrofHappy

Interactive 24 hour music video (the first in the world) for Pharrell Williams’ Happy ().

The high-spirited catchy song Pharrell cre­ated for the “Despicable Me 2″ movie is also avail­able on a shorter, more tra­di­tional, ver­sion ().  Cameo appear­ances from Magic Johnson, Jimmy Kimmel, Odd Future and Steve Carell.

« Clap along if you feel like hap­pi­ness is the truth. »

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Like a Rolling Stone

LikeARollingStone-BobDylan-03

Bob Dylan’s 48-year-old clas­sic on a new music video craf­ted as an inter­act­ive multi-channel tele­vi­sion 

From a Rolling Stone art­icle, by Gavin Edwards:

While many of the chan­nels are peopled by act­ors, the lineup is peppered with numer­ous celebrity per­formers such as comedian Marc Maron, rap­per Danny Brown, the hosts of Pawn Stars, and Drew Carey (on the set of The Price Is Right). The over­all effect is head-spinning but incred­ibly com­pel­ling: the more you surf through the “Like a Rolling Stone” video, the more the song’s con­tempt seems to be addressed to all of west­ern civil­iz­a­tion. By the time you land on a vin­tage live per­form­ance of the actual Bob Dylan, he feels like the only real per­son in existence.

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Kennedy and Oswald

RendezVous with Death - Kennedy And Oswald

The National Geographic Channel cre­ated an inter­act­ive one-page web exper­i­ence for the movie “Killing Kennedy”, based on the best-selling book by Bill O’Reilly and Martin Dugard.

The inter­act­ive long webpage titled “Rendezvous with Death” tells the story of Kennedy and Oswald side-by-side. A nicely craf­ted doc­u­ment with a very rich present­a­tion full of html 5 anim­a­tions, soundtrack and videos. It play as its own form of film trailer and works as a par­al­lel layer provid­ing info on the sub­ject. You’ll find it here.

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Reading is Pleasure

Hysterical Literature - Session One: Stoya

Stoya reads an excerpt from “Necrophilia Variations” by Supervert. A poetic struggle of focus, full of intens­ity, between con­cen­tra­tion and let­ting go. The end res­ult: a beau­ti­ful smile.

(You’ll want to be on head­phones for this one. And full screen.)

 

This video is part of Hysterical Literature:

a video art series by NYC-based pho­to­grapher and film­maker Clayton Cubitt. It explores fem­in­ism, mind/body dual­ism, dis­trac­tion por­trait­ure, and the con­trast between cul­ture and sexu­al­ity. (It’s also just really fun to watch.)

This Cubitt’s film is some sort of divine per­form­ance that embraces writ­ing as an art form and the act of read­ing as an obsess­ive gen­er­ator of more art.

I share many Supervert’s thoughts on Stoya’s Session. It is worth read­ing. A few excerpts:

«(…) Cubitt chan­nels that there-but-not-there sexu­al­ity into the things which he does per­mit you to per­ceive: the cres­cendo of sen­sa­tion build­ing on Stoya’s face; the move­ment of her hands, which are imbued with an erot­i­cism they would be denied if the frame included the divert­ing sight of gen­italia; the trans­form­a­tion of her voice, which begins in nar­ra­tion and ends in gasping.»

«(…) what is hap­pen­ing to her body deprives the book of its abil­ity to deliver whatever answers it may have. The words are reduced to emotive groans and, when Stoya’s face lights up, it is an indic­a­tion that her mind has gone dark.»

«(…) Cubitt’s aes­thetic and Stoya’s per­form­ance are what make “Hysterical Literature” stand on its own as video art, but what thrills the silent part­ner in the mén­age is to see how their exper­i­ment extends the spirit of the book. They take an impulse from the text, trans­late it into another medium, and beam it into the world anew. Bravo.»

Stoya’s thoughts on the exper­i­ence here.

Stoya’s is Session One. Watch more ses­sions here.

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YouTube Music Awards

I don’t know who came up with the idea for “live music videos” or “live short film”, but YouTube bet on it and  it is quite a match. Merging the work of music/film pro­fes­sion­als and the concept of “real­ity videos” (that are the bread and but­ter of  the inter­net giant) makes per­fect sense for a live YouTube music show.

It works quite well in the Spike Jonze live-directed Arcade Fire per­form­ance of “Afterlife” with act­ress Greta Gerwig dan­cing her socks off.

The Avicii per­form­ance got the Lena Dunham’s treat­ment with her comedic live short film played by an ensemble cast (Dree Hemingway, Nick Lashaway, Michael Shannon, Jason Schwartzman, Vanessa Hudgens, Joel Marsh Garland) and dir­ec­ted by Spike Jonze & Chris Milk.

There’s some­thing dif­fer­ent in these “live videos” that bring some fresh­ness to the live music awards scene. Other per­form­ances, like Eminem’s or Lady Gaga’s, while less star-filled also got their unique approach with dif­fer­ent chro­matic styles and film look (dir­ec­ted by live show dir­ector John Gonzalez). An inter­est­ing start, YouTube.

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The Grandmaster, Trailer

New trailer for The Grandmaster, Wong Kar Wai’s latest film. The fea­ture, presen­ted by Martin Scorsese, is inspired by the life of the legendary kung fu mas­ter, Ip Man, teacher of Bruce Lee. Rooted in the repub­lican era that fol­lowed the fall of China’s last dyn­asty, seems like an inter­est­ing and tumul­tu­ous time for an inter­est­ing story in the golden age of Chinese mar­tial arts.

Tony Leung  por­trays the main char­ac­ter. Everytime I see the name of Leung writ­ten, it always comes to mind his char­ac­ter in Kar Wai’s “In the Mood for Love” (2000) with cigar­ette in mouth and his own “cool” tempo, just like the film he was in.  I guess, in The Grandmaster, cool Tony just gets more badass.

More trail­ers of the film, here.

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WWDC 2013 Tea Leaves

For the past months, the inter­net played the rumor/guessing game on Apple’s next moves. Today some will be revealed dur­ing the WWDC 2013 Keynote. Last year’s man­age­ment changes put Jonathan Ive in charge of human inter­face design for iOS and (Mac) OS X, as well as being at the helm of the company’s indus­trial design. This move couldn’t help but bring great spec­u­la­tion of what iOS and other products could look and feel like. Rumors grown around the notion of a “flat” UI design for the next iter­a­tion of iOS, depart­ing from the pre­vi­ous look. Poor dis­cus­sions ensued redu­cing the con­ver­sa­tion to the “flat­ness” and “style” of the iOS, oblivi­at­ing the import­ance of the exper­i­ence as a whole.

Apple has proved sev­eral times that it under­stands design as the means for the all-encompassing fine exper­i­ence of a product. So, in that regard, the col­ours, the depth, the fluid­ity, the way the app ele­ments work as we inter­act with it, are all inter­linked units con­cur­ring for the optimal exper­i­ence. When you releg­ate the con­ver­sa­tion to “style” as an empty shell covered with new excit­ing graph­ics, you’re miss­ing the point. So, later today, instead of hop­ing to see the holy grail of visual design (which is a chi­mera in itself), I’d like to see (and later in the year, exper­i­ence) a well fun­da­men­ted and imple­men­ted work rooted in thought­ful human inter­face strategy.

Now for play­ing the tea leaves game for a bit (take it with a grain of salt). One can’t read too much in it or any for that mat­ter, although Apple has placed a few hints on what’s to come in pre­vi­ous event invit­a­tions. Considering Apple’s WWDC 2013 invit­a­tion graph­ics as well as the bill­boards Apple put-up in Moscone West, one could say there’s a good chance of Helevtica Neue Ultra Light being in iOS 7 (OS X, too?). But as import­ant seems the idea of col­our or, bet­ter put, the idea of “con­tam­in­a­tion” of col­ours as being a core visual cen­ter of the new iOS interface.

 

 

 

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iOS 7 Redesign Sneak Peek in Apple’s WWDC App?

—— Update: Not really. Just my imagination.

While a pos­sible spy shot of an iOS 7 home screen (show­ing the much talked about “flat” redesign) was mak­ing the rounds, what really caught my eye was a WWDC app that Apple released about the same time.

In pre­vi­ous iTunes incarn­a­tions, Apple intro­duced a few inter­face tweaks that paved way to design changes in the OS X ver­sions that fol­lowed. Looking at the WWDC 2013 iOS app, I can’t but think that this seems the case regard­ing iOS 7. The app [dir­ect link] uses an inter­face with smooth light grey gradi­ents,  darker grey tab icons with no divid­ing line between them, and lower-relief but­tons than before. I guess this kind of visual ele­ments, depth, col­ors, may well be part of what we’ll see in iOS 7’s WWDC pre­view. While last year all this meant noth­ing, I’m guess­ing this time it’s different.

Hope they still tweak it a little bit, though — I find the tab icons’ text don’t have enough white-space mar­gin below them.

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Ray Harryhausen: modern Prometheus

Creative Review’s art dir­ector Paul Pensom, pays trib­ute and looks back at the career of spe­cial effects genius Ray Harryhausen , who died at age 93 this week:

It was this that made Harryhausen a Modern Prometheus; this abil­ity to make us care, to breath a real spark of life into his pup­pets of clay, steel and rab­bit fur. Time and again when I rewatch Ray’s films, it’s the small things I notice. The way char­ac­ters shift their weight from foot to foot if they’ve been stand­ing a while; an absent minded scratch of the thigh; the brief, anti­cip­at­ory lick of the lips, as the Cyclops pre­pares his din­ner of spit-roasted sailor.

The skel­eton battle sequence of Jason and the Argonauts (1963) blew me away the first time I saw it, in the late eighties. Masterful anim­a­tion artist.

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