EURODISNEY.BIZ
Mr. Emile ZILE
April 26, 2010
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April 8, 2010
BOOMBOOM BUSHDOOF • Paradiso, Amsterdam 9 April 2010
Emile Zile (AU/LV) and Vela Arbutina (CH) play pre-recorded repetitive beat music that you can dance to.
N0 M0RE! th0se t|mes are 0ver. |NSTANT DANCE ENJ0YMENT SP|RTUAL HEAL|NG 100%!!!! Bel|eve!!!!D|d y0u ever th|nk….. |t d0esnt w0rk!? N0w |t d0es! Ha 4real! Read 0n–B00MB00MBUSHD00F th|s w|ll help,My l0ved fr|ends t0ld me: “b0red0m and med|0cr|ty equals b0red0m and med|0cr|ty” t0 wh|ch | had 0ne replyDANCE ENJ0YMENT SP|RTUAL HEAL|NG 24 H0urs 0NLY w|th 0ur B00MB00MBUSHD00F!!!!Try |t N0W!… t0 g00d t0 be tr00? | th0uhgt s0 t00 ….at f|rst. Try |t n0w. Be welc0me t0 y0ur new l|ves-style.
http://www.palaisparadiso.nl
http://www.bushdoof.eu
March 6, 2010
Forever • Love Of Diagrams
I finished post-production on this video just as the Melbourne band embark on a string of dates in the U.S.A, including shows at SXSW. Try to see them if you are in that neck of the woods. They will be touring with the equally awesome Beaches.
An occular assault edit of no-input analog video effects, courtesy of an old panasonic a/v mixer. Triangles, hexagons courtesy of final cut pro. My extended attention span courtesy of espresso and licorice.
Vimeo alternative http://vimeo.com/9934856
(but it looks so much more electrifying on a bright tube monitor)
Official clip for ‘Forever’ by Love Of Diagrams taken from the album Nowhere Forever
Unstable Ape Records, Melbourne
dir. Emile Zile 2010
January 11, 2010
‘Just another montage (confessions of an Art Guard)’ • W139
Dafna Maimon’s take on arts industry workers, recent art school graduates, art guards and the dreams and fears of the people at the frontline of cultural institutions. The protagonists use black parcan theatre lights on mic stands to frame their monologues. A white light too strong. Lights. Camera. Action.The repetitious scenes were almost nausea inducing in their hammy under/overacted delivery. Exquisitely bland dialogue, sometimes directed to audience members or the unwitting gallery visitor who becomes part of the narrative. Tiny, intoxicating scenes that would be repeated over the course of an hour.
Inane moving of lights. Incessant moving of the framing devices. The power a directed light has to focus energy and create an immediate stage is profound. The spotlight gives license to the characters to deliver lines in much the same way that social networking platforms or micro-blogging services gives licence to transmit little traumas, everyday desires and narcissistic impulses. These individuals prepare their monologues for the amorphous mass, one liners that are both media-conscious and personal. They recite language to the ether, not a directed conversational language, but a never-ending stream of quotes, self-critical comments and weak commands. The dialogue of mediated individualism. I felt we were trapped in the lucid daydreaming IM chats of bored gallery sitters and wannabe curators.
Melodramatic pauses and romantic dialogue interspersed with asides to the audience “If this was a film I would be shot over the shoulder in medium close-up”. Characters moving in highly artificial arcs. The pacing is drawn out and gives ample room for slippage, coincidences and accidents. A character sighs and delivers a highly breathy and despairing “Help. The website is stuck again”. This is anti-depressant operatic tragedy set to the scale of 21st century comment culture.
09/01/10. W139, Warmoesstraat 139, Amsterdam
Directed by Dafna Maimon
Performers: Anu Vahtra, Lot Meijers, Steven de Jong, Timothy Moore
December 8, 2009
Beijing Underground • Steim, Amsterdam
Upcoming concert at Steim, Amsterdam’s incubator of eclectic electronic aesthetics.
for more on the Chinese scene: http://www.chinesenewear.com/ear/links.html
—
STEIM@40! presents: BEIJING UNDERGROUND
Yan Jun / electronics and voice
Wu Na / guqin
Xiao He / guitar and voice
Zhang Jian / laptop
Thursday, Dec 10 2009
Time: 20:30
Door open: 20:00
Charge: 5 Euros
YAN JUN personifies the Chinese musical underground, or sub-underground – just listen to his multimedia poem “Against All Organized Deception” (http://mclc.osu.edu/rc/pubs/yanjun.htm). He promoted the DIY reuse of the Western surplus saw-cut CDs flooding China, which led to an explosion of styles. WU NA will challenge Yan’s sub-post-modernity’s with the sliding overtones of the ancient guqin/zither.
Experimental music is an offshoot of China’s recent explosion of styles—and FM3 are at its frontier. Half of FM3, keyboardist ZHANG JIAN recorded at Staalplaat and struck gold with the Buddha Machine (www.fm3buddhamachine.com).
On his latest double album “The Performance of Identity” XIAO HE combines acoustic guitar with unlikely guttural vocal sounds. Live he creates intricate multi-layered soundscapes, or plays a Peking Opera clown.
Update, documentation (Lumix LX3 HD):
December 4, 2009
Society of the query • Geert Lovink
Google screenshot painting by Tyler Wilde.
A powerful article by Dutch-Australian media theorist Geert Lovink on google, society of the spectacle/query, net criticism and the XXXXXX
‘The society of the query and the Googlization of our lives’
http://www.eurozine.com/articles/2008-09-05-lovink-en.html
An excerpt
Ever since the rise of search engines in the 1990s we have been living in the “society of the query”, which, as Weizenbaum indicates, is not far removed from the “society of the spectacle”. Written in the late 1960s, Guy Debord’s situationist analysis was based on the rise of the film, television and advertisement industries. The main difference today is that we are explicitly requested to interact. We are no longer addressed as an anonymous mass of passive consumers but instead are “distributed actors” who are present on a multitude of channels. Debord’s critique of commodification is no longer revolutionary. The pleasure of consumerism is so widespread that it is has reached the status of a universal human right. We all love the commodity fetish, the brands, and indulge in the glamour that the global celebrity class performs on our behalf. There is no social movement or cultural practice, however radical, that can escape the commodity logic. No strategy has been devised to live in the age of the post-spectacle. Concerns have instead been focusing on privacy, or what’s left of it. The capacity of capitalism to absorb its adversaries is such that, unless all private telephone conversations and Internet traffic became were to become publicly available, it is next to impossible to argue why we still need criticism – in this case of the Internet.
Google screenshot painting by Tyler Wilde.
Article by Dutch-Australian media theorist Geert Lovink on google, society of the spectacle/query and the shape of critical thought in this info-glut.
‘The society of the query and the Googlization of our lives’
http://www.eurozine.com/articles/2008-09-05-lovink-en.html
An excerpt
Ever since the rise of search engines in the 1990s we have been living in the “society of the query”, which, as Weizenbaum indicates, is not far removed from the “society of the spectacle”. Written in the late 1960s, Guy Debord’s situationist analysis was based on the rise of the film, television and advertisement industries. The main difference today is that we are explicitly requested to interact. We are no longer addressed as an anonymous mass of passive consumers but instead are “distributed actors” who are present on a multitude of channels. Debord’s critique of commodification is no longer revolutionary. The pleasure of consumerism is so widespread that it is has reached the status of a universal human right. We all love the commodity fetish, the brands, and indulge in the glamour that the global celebrity class performs on our behalf. There is no social movement or cultural practice, however radical, that can escape the commodity logic. No strategy has been devised to live in the age of the post-spectacle. Concerns have instead been focusing on privacy, or what’s left of it. The capacity of capitalism to absorb its adversaries is such that, unless all private telephone conversations and Internet traffic became were to become publicly available, it is next to impossible to argue why we still need criticism – in this case of the Internet.
December 2, 2009
Mock up on Mu • Craig Baldwin
Mock up on Mu
dir. Craig Baldwin (USA, 2009, 110 min)
Première: 3 December, 22:00 hrs Smart Project Space
A new movie by Craig Baldwin, straight out of the Other Cinema compound in San Francisco. The latest in his canon that includes Tribulation 99, Sonic Outlaws and Spectres of the Spectrum, all intoxicating feature-length films that use pre-exisitng media. Screening this Thursday night in Amsterdam.
Mock up on Mu dir. Craig Baldwin (USA, 2009, 110 min) Première: 3 December, 22:00 hrs. Smart Project Space Amsterdam
A radical hybrid of spy, sci-fi, Western, and even horror genres, Craig Baldwin’s Mock Up On Mu cobbles together a feature-length ‘collage-narrative’ based on (mostly) true stories of California’s post-War sub-cultures of rocket pioneers, alternative religions and Beat lifestyles that creates an alternative American history.
‘..an often hilarious, sometimes inscrutable, always original film that’s part pop-cultural fantasia, part capitalist critique’ – New York Magazine
December 1, 2009
Far East Audio Visual Socialization • Japan
This festival opens this weekend in Osaka. Jona is showing a number of my videos in the screening program. Check it out if you’re in the neighborhood.
November 30, 2009
The Resistible Demise of Michael Jackson • Zero Books, London
Ken Hollings has an essay on MJ in the new Zero books publication ‘The Resistible Demise of Michael Jackson’, edited by Mark Fisher of Kpunk blog.
Providing an antidote to the mixture of unthinking sentimentality and scurrilous prurience that Jackson usually attracts, this book offers impassioned and informed answers to the urgent questions that Jackson’s death has posed. What was it about Jackson’s music and dancing that appealed to so many people? What does his death mean for popular culture in the era of Web 2.0? And just how resistible was his demise? Was another world ever possible, something perhaps utopian instead of the consensual sentimentality of a world hooked on debt, consumerism and images? The essays in The Resistible Demise Of Michael Jackson consummately demonstrate that writing on popular culture can be both thoughtful and heartfelt. The contributors, who include accomplished music critics as well as renowned theorists, are some of the most astute and eloquent writers on pop today. The collection is made up of new essays written in the wake of Jackson’s death, but also includes Barney Hoskyns’ classicNME piece written at the time of Thriller.
Contributors: Marcello Carlin, Robin Carmody, Joshua Clover, Sam Davies, Geeta Dayal, Tom Ewing, Dominic Fox, Jeremy Gilbert, Owen Hatherley, Charles Holland, Ken Hollings, Barney Hoskyns, Reid Kane, Paul Lester, Suhail Malik, Ian Penman, Chris Roberts, Steven Shaviro, Mark Sinker, David Stubbs, Alex Williams, Evan Calder Williams
November 27, 2009
ME YOU AND EVERYONE WE KNOW IS A CURATOR • Paradiso, Amsterdam
a day-long symposium on the changing nature of cultural development, ‘amateurism’ vs. ‘professionalism’, the shifting sands of creative consumption and critical construction… gatekeepers now left with no-one at the gates… playlist curatorial selections and niche/long tail sales techniques… for a long time it has been sensed that artists are the new curators, filters that set signs into collision, to paraphrase Bourriaud. i’m interested to to see what this gathering has to say on the consumer as curator, and how the curators see it…
please note: ‘Captcha’ as logo
speakers include Bruce Sterling, Rick Poynor and Metahaven.
produced by the Breda Graphic Design Museum, headed up by Mieke Gerritsen
hosted by Koert van Mensvoort of the always excellent nextnature.net
While museums are developing strategies to digitalise their collections, online cultural production is growing steadily, with hundreds of thousands of new images posted each day. A lot of potentially interesting work is being produced online, which never reaches the physical world. The distribution of this high quality work is increasingly decentralised, leaving museums, foundations and professional magazines at a loss on how to redefine their role as gatekeepers. On the other hand, the time spent daily behind the computer on internet networking is pushing the demand for a physical experience of our fleeting culture. Designers, artists, mediators and policy makers need to redefine their position, because new technologies define to a large extent today’s possibilities and means of presentation and archiving. The search is for new quality criteria, new frames of references, and alternative methods for enabling connections between the virtual and the physical space of today’s culture.
Practical informationLocation: Paradiso, Amsterdam (Weteringschans 6)Entrance: €25, €10 (studenten) english spokenReservations: symposium@graphicdesignmuseum.comAdvanced sales: AUB ticketshop amsterdam/ticket service nederlandContact information:graphic design museumt +31 (0)76 529 99 00www.graphicdesignmuseum.com
http://www.graphicdesignmuseum.com
19/12/2009
Location: Paradiso, Amsterdam (Weteringschans 6)
Entrance: €25, €10 (studenten) english spoken
Reservations: symposium@graphicdesignmuseum.com