second collaboration video project with readymade777. mashup made from “stripping perceptions” and the short silent film “fall of the house of usher ” (1928)
The last thing I’d ever want you to do is feel left out. You are watching this because something in the universe drew you here. Maybe it’s because you’ve seen me or my work before, maybe it’s because you clicked on the ever-present thumbnail. Either way, I’m glad you came and know that I have only good thoughts toward your arrival. I love you and adore your interests and only want to tweak and be tweaked by your presence. If even the slightest thought is provoked by your being here, than my goal is complete. Stay creative, and be unique. My words are only a manifest of your deepest desires.
PROJECT FUKUSHIMA! BENEFIT CONCERTS
John Zorn, Ned Rothenberg (sax) Uri Caine, Shoko Nagai, Karl Berger (piano) Ikue Mori (electronics) Ha Yang Kim (cello) Nels Cline, David Watson (guitar) Yuka Honda (keyboards) Satoshi Takeishi (drums) Shayna Dunkelman (percussion) Chuck Bettis, Michael Carter (electronics) Kato Hideki (bass) and many special guests!
TWO SPECIAL SETS OF IMPROVISED MUSIC AS PART OF A WORLD-WIDE INITIATIVE FOR THE LAND AND PEOPLE OF FUKUSHIMA. ALL PROCEEDS WILL GO TO PROJECT FUKUSHIMA!—TWENTY DOLLARS
The New York International Fringe Festival Friday, Saturday and SundayFringeNYC? The New York International Fringe Festival (FringeNYC) is the largest multi-arts festival in North America, with more than 200 companies from all over the world performing for 16 days in more than 20 venues. In addition to 1200 incredible performances, FringeNYC includes…..(READ MORE.)
In the installation, Living Room, artist and filmmaker Maya Zack uses large-scale computer-generated 3D images accompanied by sound to evoke a Jewish family’s apartment from 1930s Berlin. While listening to the stories and memories of Manfred Nomburg, visitors can experience the apartment visually. 3D glasses enhance the oversized images reimagining rooms in the apartment and give them immediacy and depth.
In 1818, when Frankenstein, or the Modern Prometheus was published for the first time, Mary Shelley could not have imagined the monster she was unleashing on the world. The creature in Shelley’s novel is remarkably sympathetic and an eloquent speaker, capable of measured, intelligent, and articulate argument. But based on Boris Karloff’s 1931 film performance and confirmed by countless other films, comics, and illustrations, the general perception today is that Frankenstein’s creature is a “monster” who grunts or speaks—if he talks at all—in disjointed monosyllables.
Why has popular culture largely denied the creature his reasonable voice? This symposium brings together four scholars and the curator and bibliographer of The New York Public Library’s Carl H. Pforzheimer Collection to reflect on graphic and film representations of the “monster” from the past two centuries. The first half of the day will feature presentations on key visual adaptations of the creature, while the latter half will engage questions about what these appearances mean for understanding him as a political and historical subject.
Consider escaping your common, everyday tasks and places without using your common, everyday devices. Through installation, painting, drawing, and video, Yana Dimitrova and Angela Washko portray the mundane patterns and structures of everyday experience and consider models of living that exist outside of our “to-buy-is-to-gratify” mentality. Stripping fast food architecture and smart phone technology of it’s branding and context, Washko and Dimitrova present what remains – hollow monuments to consumer culture.