Your Highness by Max Hattler
Oolympacs by Johnny Woods
“Bim Bam Boom” excerpt from Forbidden Zone dir. Richard Elfman
Magic Ball Man by Maximilien Czech
Cody Jumps Skip by PixelWorkers
Music video for “I Didn’t Know That” by the Books
Frisbee God by Malcolm Sutherland
Ghillie Ball by Dave Hughes, Adam Stockett, and Alan Steadman
Data by Mark “Wolfshirt” Fingerhut
Citius, Altius, Fortius by Felix Deimann
Red Bull Winch Sessions footage courtesy of Red Bull Media House North America
Wow! Very meditative and interesting early computer generated animation from Lillian Schwartz. Below is text from her website:
Lillian Schwartz, resident artist and consultant at Bell Laboratories (New Jersey), 1969-2002. During the 70s and 80s Schwartz developed a catalogue of visionary techniques for the use of the computer system by artists. Her formal explorations in abstract animation involved the marriage of film, computers and music in collaboration with such luminaries as computer musicians Jean-Claude Risset, Max Mathews, Vladimir Ussachevsky, Milton Babbit, and Richard Moore. Schwartz’s films have been shown and won awards at the Venice Biennale, Zagreb, Cannes, The National Academy of Television Arts and Sciences, and nominated and received Emmy nominations and awards.
Her work has been exhibited at, and is owned by, The Museum of Modern Art (New York), The Metropolitan Museum of Art (New York), The Whitney Museum of American Art (New York), The Moderna Museet (Stockholm), Centre Beauborg (Paris), Stedlijk Museum of Art (Amsterdam), and the Grand Palais Museum (Paris). Lumen has collaborated with Lillian Schwartz and curator Gregory Kurcewicz to compile a touring package of these important works. “A Beautiful Virus Inside the Machine” features animations restored to video. “The Artist and the Computer”, 1976, 10 mins is a documentary about her work. Produced by Larry Keating for AT&T, “The Artist and the Computer is an excellent introductory informational film that dispels some of the ‘mystery’ of computer-art technology, as it clarifies the necessary human input of integrity, artistic sensibilities, and aesthetics. Ms. Schwartz’s voice over narration explains what she hoped to accomplish in the excerpts from a number of her films and gives insight into the artist’s problems and decisions.” – John Canemaker
“Lillian F. Schwartz.” Lillian F Schwartz. N.p., n.d. Web. retrieved 06 Oct. 2016.
Hilary Harp + Suzie Silver (2007)
Long-time fans of camp in general, and science fiction in particular, we set out to create a project that explores the mutual influences which flow between abstract art, and “space age” visual culture. Our sources included Thomas Wilfred’s Clavilux color organs as well as experimental abstract filmmakers such as Mary Ellen Bute, Jordan Belsen and James and John Whitney. We were also inspired by liquid light shows, the marvelous sightings of the Hubble Space Telescope, American sculptures of the 1930’s and 1940’s, and the visual culture of the space age. From these we sought to create an experience of sensuous immersion that could function as a portal from the mundane to the infinite. The glass sculptures inspired by “asteroid” forms in sci-fi illustrations, function on the one hand as abstract sculptures, and on the other hand as subjects for stop-motion animation used in the digitally manipulated video. Animations were also created from ephemeral sculptures made of light-loving craft materials such as glitter, pipe-cleaners, iridescent fabric and tulle. These animations were digitally manipulated and combined with purely digitally generated abstractions to create the final video.
In 1962, Bruce Conner left San Francisco and moved to Mexico, apparently intending to “wait out the impending nuclear holocaust”. He spent about a year in Mexico before running out of cash and patience, and returning to the United States. During his year in Mexico, Conner hosted psychedelic guru Timothy Leary, who he had met on an earlier visit to New York. Conner and Leary occupied themselves with mushroom hunts in the Mexican countryside. It’s not clear whether their hunts were successful. But Conner’s staccato home-movies of their walks – combined with movies of previous mushroom hunts in San Francisco – became his film Looking for Mushrooms. The film rushes through the rustic landscape of rural Mexico, flitting past houses and through a crumbling graveyard.
Conner cut Looking for Mushrooms down to 100 feet in 1965 in order to fit it into an endless-loop cartridge for continuous projection. In 1967 he added a soundtrack by The Beatles (“Tomorrow Never Knows”).
Three out of six surfaces of the cube are made of flexible membrane (foil mirror) with air tank and a compressor connected to it and the other three mirrors are semi transparent spy-glass. By inflating or deflating the air tank, the membrane turns convex or concave, deforming the reflections.
The Daily Psychedelic Video 