Prepare to go on a fantastic journey into a world of weird shapes and colors. Video directed by Igor Ivanov.
(Link: Jeff Utter. Thanks)
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Spring Eternal (2015)
7 Feb
Enchanting new video feedback work from artist Jay Bundy Johnson. The level of manual control on a tube camera to craft the generative iterations is quite remarkable here, so enjoy this bright psychedelic sun-circle!
“Heaven and Earth Magic” Harry Smith 1962- with music by Deerhoof
7 FebHarry Smith was a pioneering experimental animator, music anthropologist and all around kooky artistic genius.
“Heaven and Earth Magic” was created to be played on multiple projectors with live music, or DJs accompanying the film. The late William Moritz wrote a wonderful article on Harry’s unique persona and artistic pursuits which is archived on the Center for Visual Music website:
The Go! Team
7 FebA contemporary 6-person group from the UK whose sound was inspired by double dutch jump roping chants. Some serious energy, and videos very much of the retro persuasion. If that’s sounds like a good time to you, then let’s go!
Jeff Keen’s collage animations
3 Feb
Instant Cinema (1962/audio from 2007)
Cineblatz (1967)
Irresistible Attack (1995)
They are a tidal wave of delight.
Subblue’s Fractal Lab (2011)
31 JanPrepare your machinic mind for a journey through these fractal-architectural dreamscapes. A 12 part series of loops by generative artist Tom Beddard, I’ve picked my favourites below (most are silent, keep your tunes going!)
Len Lye “Tusalava” 1929
31 JanOne of my very favorite animations, Tusalava, was created by New Zealand artist and animation pioneer Len Lye. Originally silent, this version has been re-scored by Allessandro di Paola. Works well silent or with music, but stay with it. The ten minute slow-moving meditation on abstract almost cellular forms is quite moving.
“Unfolding in extreme slow motion, Tusalava depicts the emergence of two opposing figures from a striated matrix of dot-like configurations, most likely inspired by Australian Aboriginal art. Later in life, Lye described one of the figures, which is vaguely humanoid, as a “totem of individuality” and the other, which is wormlike, as a “witchetty grub,” an important Aboriginal food source he had never seen but was the subject of a dance he admired featuring sinuous writhing movements akin to those he made use of in his film. Throughout Tusalava’s ten- minute duration, the witchetty grub invades its totemic counterpart with a pair of tentacular protrusions, struggling to absorb it in its entirety before being thrust aside by the totem’s last-gasp explosive death throes.” Luke Smythe, Len Lye: the Vital Body of Cinema,OCTOBER 144, Spring 2013, pp. 73–91. © 2013 October Magazine, Ltd. and Massachusetts Institute of Technology. retrieved from http://www.mitpressjournals.org, January 26th, 2015
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