Wow! Getter created some of the baddest most psychedelic stoner videos I’ve watched in a long time, and you owe it to yourself to check those out. Here are the hair raising “Head Splitter” and its badass sequel RIP and Dip. Wicked shit.
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“Mutations”-Lillian F. Schwartz, 1973
7 Oct
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.
“The Spaceman”- music video for The Cosmic Dead featuring footage taken from Japanese shorts Super Giant #5 & #6. Edited together by Julian Dicken
30 Sep
The Amazing World of Coral Reefs Fluorescence Parts 2 and 3
24 SepSome breath-taking videos of fluorescent underwater glory.
“No Love Like Yours”- music video for Edward Sharpe and the Magnetic Zeros directed by Olivia Wilde
23 SepNebula (excerpt)-Hilary Harp and Suzie Silver
16 SepFrom the Vimeo description:
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.
