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Original author: 
Peter Kirn

laptopsonacid

CDM and yours truly team up with Berlin arts collective Mindpirates next week for a learning event we hope will be a little different than most. The idea behind the gathering is to combine learning in some new ways. The evenings begin with more traditional instruction, as I cover, step-by-step, how you’d assemble beat machines, instruments, effects, and video mixers using free software (Pure Data and Processing).

But, we’ll go a little further, opening up sessions to hacking and jamming, finally using the event space at Mindpirates to try out ideas on the PA and projectors. By the last night, we’ll all get to play together for the public before opening things up to a party at night. I know when I’ve personally gotten to do this, I’ve gotten more out of a learning experience. Getting to do it with the aim of creating useful instruments and beats and visuals here, then, I think makes perfect sense.

Working with free software in this case means that anyone can participate, without the need for special software or even the latest computers. (What we’re doing will work on Raspberry Pi, for instance, or old netbooks, perfect for turning small and inexpensive hardware into a drum machine.) No previous experience is required: everyone will get to brush up on the basics, with beginning users getting the essentials and more advanced users able to try out other possibilities in the hack sessions.

If you’re in easyJet distance of Berlin, of course, we’d love to see you and jam with you. In trying to keep this affordable for Berliners, we’ve made this 40 € total for three nights including a meal each evening and a guest list spot on the Saturday night party.

But I hope this is the sort of format we can try out elsewhere, too. If you have ideas of what you’d like to see in this kind of instruction – in-person events being ideal, but also perhaps in online tutorials – let us know.

Create Digital Music + Mindpirates present: Laptops on Acid
Facebook event

Pre-registration required; spots limited – Eventbrite
Register while spots are still available!

(fellow European residents, I’m as annoyed at the absence of bank transfer/EC payment at Eventbrite as you are – we’re working on an alternative, so you should email elisabeth (at) mindpirates [dot] org to register if you don’t want to use that credit card system!)

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Original author: 
Germain Lussier

Raid 71 - 2001 A Space Odyssey

Glow in the dark inks on a poster can be hit or miss. In the best cases, they act as almost a night light, revealing a beautiful second image that’s invisible in the day time. On the other hand, some are so subtle and light, it’s almost as if they don’t glow in the dark at all. And maybe that’s a good thing.

The Bottleneck Gallery in Brooklyn, NY will surely have a little of both in their latest exhibit, When The Lights Go Out, which opens April 12. Over 60 artists have made brand new pieces with glow in the dark inks, which will be displayed at all hours via a new installation of blacklights.

Some of the topics of the art include 2001: A Space Odyssey (above), The Shawshank Redemption, Alien, Game of Thrones, Band of Brothers, Where the Wild Things Are, Tron, Poltergeist, Time Bandits and more. It looks like a very fun show. Check out a selection of art below.

When the Lights Go Out opens at 7 p.m. April 12 and will remain open through May 1. It’s located at 60 Broadway, Brooklyn. Find more information at www.bottleneckgallery.com, and that’s also where the show will go on sale online at noon EST on April 13 at that link.

Mouse over each piece for the artist name, and property. Where we can, we’ve placed the original with the glow in the dark element side by side. Some of the images provided either only had one way, or both together. Those are at the bottom of the gallery.

Bruce Yan  - Wild Things
Bruce Yan - Wild Things - GID
Dave Perillo - Time Bandits
Dave Perillo - Time Bandits - GID
Cuyler Smith - Poltergeist
Cuyler Smith - Poltergeist - GID
JP Valderrama - Shawshank
JP Valderrama - Shawshank - GID
Godmachine - Alien - GID
Godmachine - Alien
Rob Loukotka - Band of Brothers - GID
Rob Loukotka - Band of Brothers
Mark Englert - Game of Thrones - GID
Mark Englert - Game of Thrones
Craig Drake - Tron
Raid 71 - 2001 A Space Odyssey

And that’s just a small, small sampling of the full show.

Which is your favorite?

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This is a huge time for Mondo. The company kicked off SXSW last week with their massive Game of Thrones show. Later this week is the even bigger Stout/Taylor show. (Check back Friday for more on that.) And today they’ve revealed a truly historic entry into their archive.

Martin Ansin has done a poster for Martin Scorsese‘s Taxi Driver, tied to a screening at the Alamo Drafthouse in Austin, TX next week. Not only did Robert De Niro allow Mondo to use his likeness, Scorsese himself approved the poster. Check it out in full, below.

For more information on the screenings, visit this page. And here’s the Taxi Driver poster.

I can’t wait to see this one in person and look at all the detail. But I love how it evokes not only the dirty New York of the film, but the seventies style of the poster.

Odds are this will sell out at the screenings but, if there are leftovers, @MondoNews on Twitter would be the way to find out.

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Дима Ребус родился в 1988 году в небольшом провинциальном городе. В 16 лет, окончив художественную школу, он переехал в Москву, где поступил в Московский Художественно-Промышленный Институт на факультет Графического дизайна.
Дима окончил все 6 курсов института, но по специальности работать не стал. Еще в студенческие годы он увлекся иллюстрацией и решил посвятить себя фриланс-проектам в качестве художника-иллюстратора.

dr-2.jpg

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Sam from MIT sez, "This 2-day conference at MIT brings together 50 leading thinkers about innovation in the media and marketing industries. Issues tackled include the importance of listening to their audiences and putting yourself in their shoes; the politics and ethics of curation in a spreadable media world; the move from "participatory culture" to "political participation," curing "the shiny new object syndrome" of putting the hype of new platforms over storytelling strategy, and rethinking copyright for today's world. The conference also includes particular looks into the futures of video gaming, the futures of public media, and the futures of storytelling in sports. Speakers include T Bone Burnett, Henry Jenkins, Maria Popova, Grant McCracken, Jason Falls, Valve Software's Yanis Varoufakis, PBS FRONTLINE's Andrew Golis, Google Creative Lab Director Ben Malbon, Xbox co-founder Ed Fries, AT&T AdWorks Lab Director David Polinchock, the creators of 30 Mosques in 30 Days, and USC Annenberg Inno vation Lab Director Jon Taplin. Also, there's a pre-conference event Thursday evening, Nov. 8, on 'New Media in West Africa,' moderated by mobile entertainment founder Ralph Simon and featuring the Harvard Berkman Center's Colin Maclay, artist Derrick Ashong, and iROKOtv's Fadzi Makanda."

Futures of Entertainment 6 | November 9-10, 2012 MIT, Cambridge MA

(Thanks, Sam!)

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Nobody Walks, the third film by director Ry Russo-Young, and co-written by Lena Dunham, opens this weekend in New York and L.A. You can read an in-depth review in the Times here (which manages to get some specifics of the plot wrong), and although it’s a fine review, I don’t really think it conveys how good the movie is. With minimal production value and a straightforward story (short version, a girl moves to LA and gets in the middle of a marriage), what matters, and what is great about the movie, is the characters. They are so clearly rendered and layered that when I posted the trailer just now, I watched it again so I could slip back into their lives for a few more minutes, even though I literally just saw the movie. I read a couple of reviews that talked about the characters being unlikable. I couldn’t disagree more. One of the things I thought was so impressive about the film is that everyone is humanized. Everyone is treated with sympathy, even when their behavior is entirely unsympathetic.

This is an independent film, so if you think you might want to see it, opening weekend is a good time to do so, as it effects how widely a film is released. The director is doing a Q&A after the 7.10 screenings and an intro to the 9 pm screenings at Sunshine both Friday and Saturday nights. Tickets for New York screenings are available here, and for LA are available here.

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When I called photographer Martina Hoogland Ivanow in Stockholm to discuss her upcoming exhibition “Far Too Close” (opening tonight, October 11, at the Gallery at Hermès), I was sitting outside of the public library in Rathdrum, Idaho, population 6,969. In a quest to gain perspective on my seemingly anarchic New York City-based life, I had sought out the serenity of Northern Idaho and this was the closest place I could find with an Internet connection and somewhat decent mobile phone reception.

As Martina and I spoke, it became clear that it was this very notion of “perspective,” and the weight that we ascribe “home” and “away” that Martina set out to explore in “Far Too Close.” Shot over seven years, the project is, in Martina’s words, a “play with the idea of distance, emotionally and geographically, and the way people build up a pattern of perspective—both in the sense of being far from an object or place, or close to it.”

Juxtaposing vast images of the edge of continents or desolate landscapes with intimate family portraits and domestic interiors of her native Sweden, scrutinized to the point of abstraction, Martina constructs a visual commentary on not only how we see the world around us but also how we don’t see it; how our emotional distance from the foreign allows us a perspective that is rarely afforded those people and places closest to us.

Intrinsic to this examination are universal questions of physical and emotional retreat; poetic impulses; and the weight of history. And while “Far Too Close” more often further mystifies than clarifies these concepts, it also profoundly proposes the notion that perhaps perspective is more often gained through examination than by escape. Here, Martina tells us a bit about her own investigation process.

Erin Dixon: How did “Far Too Close” manifest?

Martina Hoogland Ivanow: As a photographer you tend to travel a lot, and I tend to question why it is easier to describe things that are far away, with an emotional distance, while the things that are closer to you seem to be harder to grasp.

Erin: Was there a particular moment when you thought: I need to pursue this—or was it an accumulation of all of those moments traveling that pushed you to this exploration?

Martina: There were a few different moments… When I was living in New York City, as soon as I got back to Sweden I would go swimming in a lake. I’ve always liked those two opposites, juxtapositions—how they attract each other. And I tended to travel like that; I would go to very isolated places. So [this project] became a personal question and challenge to myself: I’ll see if I go to these ends of continents if I fall over the edge into myself. Then, I started to think, historically, how a seemingly distant place had placed so many people in the same frame of mind. And also, politically, geographically, these places had so many similarities. That lead into this question of: Why do you have to go so far to take a step inside of yourself? Why is it so much easier to describe things that are emotionally distant and also geographically so far away?

Then there was a moment when it felt really important to include anything that was home, or supposedly home—whatever it is you’re deciding this [far away] place is far away from. So, I included all these family portraits and family interiors and that’s when this project started to become a bit more interesting. It was a process. It was something that took time to shape itself. That’s what makes it special.

Erin: Within that, how did you select the “far-off” locations for the project?

Martina: They are places at the end of continents or places where people—because of the perception of them being far away—have hidden things that they didn’t want to be found. For example, in Northern Russia the Kola Peninsula has military bases, prisoners… It’s a place to hide the nuclear waste, and things like this; [these “far-off” places] tend to have dark histories. Then there’s the poetic perspective of being close to yourself in a desolate space, so certain people are drawn to them. They are also, most of them, the endpoint of the continent. I would almost look at a map and start to research a place and then just go there for a couple of weeks and see what I would find, especially at the beginning. At the end, I would be more specific with what I was trying to find, but this tends to be the case with every project I do. I try to be a bit loose at the beginning and it becomes a bit more focused towards the end.

Erin: Is there one place that particularly resounded with you?

Martina: The Kola Peninsula is very special, and the Russian places in general are amazing because they stretch over such a big piece of land but they have so many similarities. Also they’re so populated because it was a way to [claim] land, to build these cities in these very desolate places.

I was [in Russia] for the 60th anniversary of the end of World War II so I stumbled upon all these English veterans who hadn’t been there since then. I found myself at all these ceremonies and watching parades. It was so strong for these people and having these men crying made me more aware of the fact that I don’t really have a relationship to this place, so I really tried to describe my distance and take a lot of pictures from above and far away. I was trying to visualize or describe this emotional distance. Even though of course I can relate to that pain as a human, I wasn’t a part of that war. I live in a country that hasn’t had war for hundreds of years. That was maybe the most important trip. It was also the last one so I was clear on what I was going to do.

Erin: And how did you select the images of home that you did?

Martina: When I moved back to Stockholm, I had this thought that the things I could share and see in some of my relatives’ houses—the books, the interiors, a pillow or the textiles—were things I would find in my own home. And maybe these things were related somehow to a family bond, more than the emotional closeness. So [with the images] I was trying to describe the place, rather than the closeness to the person or the intimacy. In some places, I did this very intentionally, finding that particular light where they were abstracted. I guess I was also, in various ways, making the images so close that you couldn’t see—so that when I would place them alongside landscapes or travel images, they would also create a pattern or rhythm of perspectives. I was conscious to do things closer in, so close that you couldn’t see anything. I was trying to describe this lack of perspective, the irony that it is hard to see things that are so close to you.

Erin: And what are you working on now?

Martina: I haven’t quite pinned it down yet but I found myself, maybe six months ago, looking at the work I’ve made since I came back from Berlin, where I lived for a year. I saw how I had been shooting various things but also how they were all linked to each other without me really being aware. I thought they were three different projects, but they really relate very well. I can’t really explain it well yet…but it is definitely a continuation of my Satellite project. I also started working on this film about this dancer and doll maker. It’s about this woman in the ’50s and ’60s and about the emotions she created in others. How she woke so many aberrations and so much anger and irritation. She’s a bit haunting, so I decided to make something about her.

Images by Martina Hoogland Ivanow. Far Too Close is on view October 22 through November 26 at the Gallery at Hermès, 691 Madison Avenue, New York, New York.

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Chicago is the lucky one here, the film and photos of Tim Navis + Kim Holtermand’s trip to Iceland will premiere next month along with music performance from the artists listed below. Also this trip will be coming with a soundtrack on DVD, head to the soundcloud links to get a glimpse of the sounds and artists Deru compiled.

Film Premiere & Live A/V Event in Chicago July 10th, Lincoln Hall
Outliers, Vol. I: Iceland featuring…

Deru w/ Scenic (Live A/V)
Shigeto
Loscil
Sweatson Klank

TICKETS HERE

This past October, Chicago film collective Scenic traveled to the Icelandic countryside alongside photographers Tim Navis + Kim Holtermand and music composer Deru to create a series of improvised, collaborative short films. The resulting documentary – entitled Outliers, Vol. I: Iceland – will be released in June, along with a companion soundtrack compilation featuring thirteen contemporary classical composers and electronic music producers.

To celebrate the release, Scenic will join Deru onstage for a live, multimedia A/V performance inspired by the journey. Soundtrack contributors Shigeto (Ghostly International), Loscil (Kranky), and Sweatson Klank (Alpha Pup) will perform full sets, and the first 200 ticketholders are invited to an exclusive live screening of the film and Q&A session with the artists in advance of the show.

SHIGETO

DERU

HEATHERED PEARLS

GOLDMUND

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It was almost a decade ago that photographer Maggie Steber realized that her mother, Madje Steber, was not going to get better. Although her mother had always lived independently, her dementia had gotten to the point where that would no longer be possible.

“I started photographing my mother as soon as I realized I was going to have to move her out of her home in Austin,” says Steber. “She would never let me photograph her before. When her defenses were down—and I’m sure some people will say that’s not right—I started photographing her.”

The project was originally intended as purely personal, a way for Steber to cope during her mother’s illness and a way for her to remember her mother in later days. There was also video, filmed as Madje Steber’s condition deteriorated, which would allow the photographer to remember how her mother moved and sounded. But along the way, says Steber, she realized that the project could be more than something she would dust off and look at when she wanted to remember. After a shorter project created for AARP and then a period of time away from the work after her mother’s death in 2009, Maggie Steber (in collaboration with MediaStorm) made a film, Rite of Passage, which will premiere June 11 at Galapagos Art Space in Brooklyn, N.Y.

Steber’s film involves photos and video taken at difficult moments and at beautiful ones—moments when Steber says her mother came out of herself and lost her shyness. Her mother’s reluctance to be photographed was, she thinks, a result of her youth and beauty passing; “it was so lovely to have these pictures where she was happy and beautiful again,” she says. The photographer hopes that those transcendent moments will teach viewers that illness comes in waves, that stages will pass and—perhaps most of all—that if you are willing to be a “warrior” on behalf of your loved one, they can have a positive end-of-life experience. Nobody told her how to navigate doctors and medications, and part of her goal is to help others with the research that accompanies a loved one’s death. “If you can stick with it,” she says, “there’s this rather remarkable gift at the end.”

Maggie Steber

Madje Steber naps with her favorite toy, a stuffed kitty, in her room at Midtown Manor, an assisted living facility, in Hollywood, FL. in 2007.

Part of that gift is knowing that you’ve done what you could. Steber says that she was aware from a young age that her mother, the single mother of a single child, would die one day and that she had a responsibility to be there for it. And she was: “I was able to hold my mother while she took her last breath,” she says.

The other part is meeting your parent all over again, with all the barriers down. Steber says that, as her mother lost touch with the past, they lost touch with the mother-daughter relationship. “They don’t recognize you anymore. They fall in love with somebody else. They think the caregiver is their daughter,” she explains. “That’s a little startling, it hurts a little bit, but I started to see her as Madje.” It’s difficult for children to see their parents as individuals separate from themselves, but Madje became a whole woman to Maggie, someone who told marvelous stories, someone who had been a scientist and would have wanted her last days to help ease medical confusion, someone who could have become a friend if they had started out as strangers. “I just fell in love with her,” says Steber. “I know I would have just really enjoyed knowing this woman.”

Steber’s photographs and videos were made in order to preserve just one woman’s memory of a mother, but she says she hopes that her decision to share will help other people decide to look for those gifts of memory. “It doesn’t come easily, but it’s worth it,” she says. “You have to live with that for the rest of your life and I just think if you can live with the happier memories, the discovery and seeing somebody blossom even as they’re disappearing right in front of you, you have that to hold onto. And maybe it is the best thing you’ll ever do.”

Maggie Steber’s Rite of Passage premieres June 11 at Galapagos Art Space, along with Phillip Toledano’s A Shadow Passes, another film from MediaStorm about the loss of a loved one. More information about the event is available here.

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Fri, March 23rd @ Glasslands Gallery

ISO50 and PopGun Present:

COM TRUISE (DJ SET)

BEACON (DJ SET)

HEATHERED PEARLS (DJ SET)

21+, Doors at 11:30pm
$5 TICKETS

We are giving away 2 tickets(2 winners total) to tomorrow’s dance party in Brooklyn at Glasslands, the event page is here, if you’d like to win a ticket just comment below with your favorite Com Truise track name, make sure your email address is attached and we’ll pick a winners before the show.

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