Long form video from Caretaker’s four part “Everywhere at the End of Time” album cycle.
Musician’s notes:
“The second stage is the self realisation and awareness that something is wrong with a refusal to accept that. More effort is made to remember so memories can be more long form with a little more deterioration in quality. The overall personal mood is generally lower than the first stage and at a point before confusion starts setting in.”
Netflix has a new film about psychedelics set to be released this Monday, and it looks very promising!
Today, on the day of Albert Hofmann’s first accidental LSD trip (3 days before official bicycle day), we are thrilled and excited to announce the inauguration of the world’s first Psychedelic Video Museum, a direct upshot of ten years of activity on this website, the Daily Psychedelic Video. The spectacular inauguration ritual will take place virtually on Bicycle Day at 3PM Eastern Time/12PM Pacific Time (noon)/8PM Greenwich Time/10PM Jerusalem Time.
After ten years of posting on psychedelic video a day, and with around 4,000 videos curated over the last decade, the DPV is the biggest collection of psychedelic videos on the web, and a global hub for psychedelic video fans.
Now, the time has come to take the mission of psychedelic beauty and joy to the next level. We are proud to give you the world’s first psychedelic video museum, a pioneering online museum resonating the current renaissance in psychedelic culture.
The new online museum features 700 videos carefully selected from the DPV collections and curated by themes, periods, styles and places. It includes 45 exhibitions with titles like “Soviet Psychedelia,” “Japanese Psychedelia,” “Israeli Psychedelia,” “Sixties Psychedelia,” “Oldie Psychedelia,” “Psychedelic Art Videos,” “Psychedelic Cinema,” “Psychedelic Animation,” “Psychedelic Hip Hop,” “Tribal Psychedelia,” “Psychedelic Activism,” etc. It utilizes the unique knowledgebase created in a decade of curating psychedelic videos in the DPV in order to offer its visitors a pioneering display of psychedelic video creativity.
Appearing in a period of a widely publicized “psychedelic renaissance” and renewed interest in the therapeutic potential of psychedelics, the new museum adds a much-needed cultural dimension to the current psychedelic revival. In recent years, psychedelic art has received growing attention and was featured in prominent exhibitions by world-class museums such as London’s V&A museum and San Francisco’s de Young Museum. Art scholars and cultural critics have pointed to the seminal role played by psychedelia in shaping contemporary art and culture. The time is therefore ripe for a first museum exploring this ubiquitous and highly influential artistic style.
At a time when publics worldwide are called upon to safely stay at home, and in which it is impossible to travel in physical space, we are proud to allow our visitors a journey into their minds, to find beauty and joy even in grim, challenging days. The Coronavirus period has been accompanied by a new interest in virtual museums and exhibition spaces. Most, however, provide only dim online versions of their physical selves. The Psychedelic Video Museum, by contrast, is the brainchild of the web, conceived as a purely digital effort and native to an era of digital art spaces.
The site will officially launch on the 19th of April 2020, on Bicycle Day (celebrating the 77th anniversary of the discovery of LSD), in a psychomagical online ceremony. Join us for the inauguration ritual of the Psychedelic Video Museum, where artists and wizards from different parts of the globe will consecrate the museum with performance, speech, dance, music and ritual.
Posting the first video ever posted on the Daily Psychedelic Video – The legendary Story from North America.
If you care anything for new-media art, do yourself a favor and go see the Weibel retrospective at ZKM which is on until 2020-03-08, as well as the historical new-media collection. For me it has been a humbling, awe-filling and possibly artistic-life-changing experience. By the way, everything you ever did or thought of doing or will do, was already done in the seventies. More on this to come.
“Between TV and viewer there is a function, i.e.: The user switches the device on and off. This function is illustrated and content of the program. A “sandwich”- character of real process and figure process, of reflection and action. In the screen there are viewers seen sitting in front of their TV. In the last picture a disturbance occurs, so that the viewer who watches this scene has to get up, in order to repair the failure. Thus the screen of the next viewer is disturbed. The disturbance reproduces itself, up to the real TV set, so that the real viewer must rise the same way, in order to remove the disturbance. Time delay: The real action is the final point of the reproduced process.” [Peter Weibel]
I attended Stuttgarter Filmwinter festival this week, where I exhibited my work Pictures of Jap Girls in Synthesis. I was fortunate to meet Animation-Avantgarde-Programmer Thomas Renoldner who participated with his Annie Award (animation “Oscars”) nominated short film DONT KNOW WHAT. He is also a curator of several Austrian and international film events, including the Animation Avantgrade program at the Vienna Shorts film festival (submissions due Jan. 31). As you know, I like to dig out the old stuff:
