When a friend showed me this video for the first time, I asked him, “How would you go about making a video like this? How would you describe this vision to a director?” It turns out that you don’t. Carl Burgess was given complete freedom in creating this video for Ratatat, and the finished product was made entirely from stock footage. Here’s a full article on the production: http://www.fastcodesign.com/1662128/carl-burgess-director-of-the-years-creepiest-coolest-music-video
And while the above is my favorite, I think it would be dishonest of me to post a Ratatat video for a community like the DPV without tossing in at least one more. I’d say Falcon Jab is probably the most traditionally psychedelic of their videos–that I’ve seen, anyway–but there’s just something all too human in the video for Drugs that made me choose it for my headline this Saturday.
She’s bad, but the clip is great!
Australian artist Andy Thomas specializes in creating ‘audio life forms’: beautiful abstract shapes that react to sounds. In this animated short, he visualizes two recorded bird sounds from the archives of the Netherlands Institute for Sound and Vision [beeldengeluid.nl] in Hilversum.
An increasing amount of sounds and images from European archives, museums and libraries are available for creative re-use. For the Europeana Creative Challenge, we’re looking for innovative projects that use archival material available via Europeana (europeana.eu) in a creative way. Send in your own idea to create, for example, a mash-up, an app or a game at ecreativechallenges2014.istart…. The winner will be aided by specialized professionals in realizing their project.
In 1973, film producer Arthur P. Jacobs optioned the film rights to Dune but died before a film could be developed. The option was then taken over two years later by director Alejandro Jodorowsky, who proceeded to approach, among others, Peter Gabriel, the prog rock groups Pink Floyd and Magma for some of the music, artists H. R. Giger and Jean Giraud for set and character design, Dan O’Bannon for special effects, and Salvador Dalí, Orson Welles, Gloria Swanson and others for the cast.
Frank Herbert traveled to Europe in 1976 to find that $2 million of the $9.5 million budget had already been spent in pre-production, and that Jodorowsky’s script would result in a 14-hour movie (“It was the size of a phonebook”, Herbert later recalled). Jodorowsky took creative liberties with the source material, but Herbert said that he and Jodorowsky had an amicable relationship. The project ultimately stalled for financial reasons. The film rights lapsed until 1982, when they were purchased by Italian filmmaker Dino DeLaurentiis, who eventually released the 1984 film Dune, directed by David Lynch.
“From my perspective, daily life lies between the real world and fantasy. This duality crystalizes so naturally that it looks imperceptible for us: we live in the present without being conscious of it until something happens and breaks this state. This triggers emotions that confirm the coexistence between reality and fantasy in the everyday world.
My creative process starts with the observation of an event that shatters this duality, thus giving me the conceptual base for what in the future will be an image. From this framework, I start creating symbolic relations which are necessary to build a visual metaphor which will bring a first sketch. Nevertheless, my creative process does not respond to any linear sequence, but rather to a come and go between the creator and the artwork.
The photographic language does not capture the reality I want to show in my work. To fill this gap, I mix digital techniques that expand the semiotics of the image, to the point of merging fantasy with reality. This combination of techniques makes my work more diverse and this allows, in a certain way, to reinvent each new project.
Finally, the guidelines that lead my work consist of portraits and self-portraits because, on the one hand, I’m interested to express in an image the vulnerability of human beings facing their surroundings and themselves; and on the other hand, through self-portraiture I represent the inexorable passing of time and how each character inside my image blurs out the limits of their bodies as to, in a horizontal relation, be part of the whole.” [Jon Jacobsen]