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A chick who can Trip me out......
"Dj Icey"
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"SF"
"SilverSt"
"A7X"
"Atreyu"
"underOATH"
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"As Cities Burn"
Griffith was known as “the Man Who Invented Hollywood,†and the words he used to describe his style of composition -“intra-frame narrative†or the “cut-in†the “cross-cut†– staked out a space in America’s linguistic terrain that hasn’t really been explored too much. Griffith’s films were mainly used as propaganda – “Birth of a Nation†was used as a recruitment film for the Ku Klux Klan at least up until the mid 1960’s, and other films like “Intolerance†were commercial failures, and the paradox of his cultural stance versus the technical expertise that he brought to film, is still mirrored in Hollywood to this day.......... -That Subliminal Kid-
BEHOLD A PALE HORSE
RHYTHM SCIENCE
Incoming!
Italy, on Mar 16, 2004
Session started at 09:45 this morning Mar 16. And what has NASA got to say about these mysterious objects in our Solar System?
Giusmar
As this animation shows, the Planet X complex lies between the Earth and Sun, moving with the Ecliptic as the photographic session proceeds.
Nancy..... LEARN MORE ON PLANET X, THE PLANET THAT IS GOING TO KILL US ALL"In the chain of reactions accompanying the creative act, a link is missing. This gap, representing the inability of the artist to express fully his intention, this difference between what he intended to realize and did realize, is the personal 'art coefficient' contained in the work. In other words, the personal 'art coefficient' is like an arithmetical relation between the unexpressed but intended and the unintentionally expressed..."
Marcel Duchamp, "The Creative Act," 1957 .......-That Subliminal Kid-
Time and sound, memory and matter - for me, it's all a mix. I look at film as the central myth processing site for the 20th century's subconscious, and if there's anything dj'ing brings home it's how much our memories and lives have been inundated with media culture from the very beginnings of consciousness. We're probably the first generation to grown up with electronic media at every angle. Satellites, cell phones, t.v. telephones, fiber optic cables etc etc You name it, we remember it. Call it the archeaology of the viral virtual or whatever. Film was just the beginning. The nextsituation - vj's & dj's net mixes etc etc... check the situation.... - we're just getting started...... -That Subliminal Kid-
Travel. Big picture small frame, so what’s the name of the game? Symbol and synecdoche, sign and signification, all at once, the digital codes become a reflection, a mirror permutation of the nation…. Where to go? What to do to get there?
Sometimes the best way to get an idea across is to simply tell it as a story. It’s been a while since late one autumn afternoon in 1896 Georges Méliès was filming a late afternoon Paris crowd caught in the ebb and flow of the city’s traffic. Méliès was in the process of filming an omnibus as it came out of a tunnel, and his camera jammed. He tried for several moments to get it going again, but with no luck. After a couple of minutes he got it working again, and the camera’s lens caught a hearse going by. It was an accident that went unoticed until he got home. When the film was developed and projected it seemed as if the bus morphed into a funeral hearse and back to its original form again. In the space of what used to be called “actualités†– real contexts reconfigured into stories that the audiences could relate to – a simple opening and closing of a lens had placed the viewer in several places and times simultaneously. In the space of one random error, Méliès created what we know of today as the “cut†– words, images, sounds flowing out the lens projection would deliver, like James Joyce used to say “sounds like a river.†Flow, rupture, and fragmentation – all seamlessly bound to the viewers perspectival architecture of film and sound, all utterly malleable – in the blink of an eye space and time as the pre-industrial culture had known it came to an end.
Whenever you look at an image, there’s a ruthless logic of selection that you have to go through to simply to create a sense of order. The end product on this palimpsest of perception is a composite of all the thoughts and actions you sift through over the last several mirco-seconds – a soundbite reflection of a process that’s a new update of Mary Shelley’s Frankenstein or the German proto Expressionist 1920 film “Der Golem,†but this time it’s the imaginary creature is made of the interplay fragments of time, code, and (all puns intended) memory and flesh. The eyes stream data to the brain through something like 2 million fiber bundles of nerves. Consider the exponentional aspects of perception when you multiply this kind of density by the fact that not only does the brain do this all the time, but the millions of bits of information streaming through your mind at any moment have to be coordinated and like the slightest rerouting is, like the hearse and omnibus of Méliès film accident, any shift in the traffic of information can create not only new thoughts, but new ways of thinking. Literally. Non-fiction, check the meta-contradiction… Back in the early portion of the 20th century this kind of emotive fragmentation implied a crisis of representation, and it was filmakers, not Dj’s who were on the cutting edge of how to create a kind of subjective intercutting of narratives and times – there’s even the famous story of how President Woodrow Wilson when he saw the now legendary amount of images and narrative jump cuts that were in turn cut and spliced up in D.W. Griffiths’s film classic “Birth of a Nation†called the style of ultra-montage “like writing history with lightning.†I wonder what he would have said of Grand Master Flash’s 1981 classic “Adventures on the Wheels of Steel?†......... -That Subliminal Kid-
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