Documentation from (RE)MAKE Tutorial # 1 (2009) - Paul Destieu

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(RE)MAKE Tutorial is a multimedia piece entirely based on popular, free and available web found elements: a software for image retouching, an online music listening platform, and a picture found on internet.

Photography or video? This work appears as a “work in progress”, an accidental proposition, similar to a tutorial through its assembling process. (RE)MAKE Tutorial is a low tech adaptation which revisits one of the most traumatizing Hollywood’s cinema production: JAWS. The motionless sea is brought back to life thanks to the simple Photoshop selection tool.

-- FROM THE VIMEO DESCRIPTION

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The American Music Show

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The American Music Show began in 1981 and ran until 2005 on People TV, the public access station in Atlanta, Georgia. It was produced by Potsy Duncan, Bud Lowry, James Bond, and Dick Richards. Campy and over-the-top, the show parodied American popular culture with John Waters-esque absurdism. I discovered the show through misterrichardson's page on YouTube, of The Funtone USA Network.







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General Web Content

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Inappropriate Soundtracks are videos consisting of well known movie scenes that have been edited to (in most cases) juxtapose the tone of the original scene. The scene is played out as normal, the only editing done to the clip is that a new song is inserted over the original to create lulz...According to the majority of the youtube videos they are inspired from the Something Awful forums...While being somewhat popular on the SA Forums it failed to become widespread across the internet. Only with the uploading of these videos to youtube and other online streaming sites (where it is extremely accessible) was it then able to spread and become a popular meme. There are also several blogs posting about the meme within the last year or so. Examples include: Living Read Girl , Filmsight , Kottke and The Inquisitr .There are no Google insights available as there are not enough searches yet. When typing Inappropriate Soundtracks into the search field it comes up with over 100,000 results. Interestingly, searching for Inappropriate Soundtracks Braveheart yields nearly 5 times more results.

-- FROM THE "INAPPROPRIATE SOUNDTRACKS" ENTRY ON KNOWYOURMEME.COM










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Shana Moulton's "The Undiscovered Antique" at Art in General

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Shana Moulton performing "The Undiscovered Antique" at Art in General

The current exhibition at Art in General is “Erratic Anthropologies", which features Guy Benfield, Shana Moulton, Rancourt/Yatsuk, and Hong-An Truong, who construct narratives through video and performance that investigate a host of social subcultures (from hippie crafters to failed south Florida housing developers). In collaboration with Performa 09, a special series of performances have been organized to accompany the show. Last Wednesday, November 10, Benfield, Moulton, and Rancourt/Yatsuk performed in temporary environments in the gallery space. They will perform again tonight at 7pm. Rhizome Curatorial Fellow Jenny Jaskey writes about Shana Moulton’s "The Undiscovered Antique."

In a crowded room on Wednesday night, video and performance artist Shana Moulton presented the ninth installment of Whispering Pines, a series in which her alter ego Cynthia relishes the life-changing potential of home décor, beauty routines, and self-help mantras. Cynthia’s obsession in this episode, entitled The Undiscovered Antique, focuses on her journey to confirm the value of personally meaningful domestic artifacts á la The Antiques Roadshow. Moulton’s work is a layering of video, performance, and prop staging that is, in its more effective moments, abstract and dreamlike. In the spirit of Sara Goldfarb minus the amphetamines, Cynthia fantasizes about the transcendental payoff of her kitsch consumer fetishes, which include a head massager and footbath. Moulton achieves this sense of escapism by fully integrating her character into a two-dimensional digital landscape: projected objects move in choreographed syncopation with Cynthia’s body, sometimes appearing to control its movement or color its surface.

Moulton’s work makes us particularly attuned to the social structure surrounding its protagonist through its exaggerated and fragmented representation of Cynthia’s environment. It uses this fiction as a means for creating a kind of framed anthropological analysis ...

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Required Reading

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Image: Shoveling pirated DVDs in Taiyuan, Shanxi province, China, April 20, 2008

The poor image is a copy in motion. Its quality is bad, its resolution substandard. As it accelerates, it deteriorates. It is a ghost of an image, a preview, a thumbnail, an errant idea, an itinerant image distributed for free, squeezed through slow digital connections, compressed, reproduced, ripped, remixed, as well as copied and pasted into other channels of distribution.

The poor image is a rag or a rip; an AVI or a JPEG, a lumpen proletarian in the class society of appearances, ranked and valued according to its resolution. The poor image has been uploaded, downloaded, shared, reformatted, and reedited. It transforms quality into accessibility, exhibition value into cult value, films into clips, contemplation into distraction. The image is liberated from the vaults of cinemas and archives and thrust into digital uncertainty, at the expense of its own substance. The poor image tends towards abstraction: it is a visual idea in its very becoming.....

......The circulation of poor images creates a circuit, which fulfills the original ambitions of militant and (some) essayistic and experimental cinema—to create an alternative economy of images, an imperfect cinema existing inside as well as beyond and under commercial media streams. In the age of file-sharing, even marginalized content circulates again and reconnects dispersed worldwide audiences.

-- EXCERPTS FROM "IN DEFENSE OF THE POOR IMAGE" BY HITO STEYERL IN E-FLUX JOURNAL #10, NOVEMBER 2009

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Hypercube (2006) - Krysten Cunningham

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An appropriated educational film found at the UCLA physics lab where the artist has worked for several years, "Hypercube" aims to illustrate the idea of 4-dimensional space. Re-narrated by Cunningham, the video emphasizes her interest in the way scientific ideas can be articulated and offers a context for the artist's interest in experimenting with complex geometric forms.

-- FROM THE PRESS RELEASE FOR KRYSTEN CUNNINGHAM'S SOLO EXHIBITION "TANGENTAL" AT DISPATCH (OPENS NOV. 8)

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Corporate Culture

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"Contact," the most recent exhibition by the group Art Business Consulting, featured a rocket ship built from computer hardware, with a trio of yuppies floating weightlessly on a video screen inside. The trappings and denizens of the office have figured in ABC's work since Mikhail Kosoplapov, Maxim Ilyukhin, and Natalia Struchkova formed the group in 2001, and as in "Contact," they have always been subject to some sort of disfigurement. Early on, ABC established a pseudo-corporate identity by showing up at art openings in expensive cars and nice suits, performing the role of Russia's nascent upper-middle class while their colleagues in the Moscow boheme were riding public transport in sweaters and jeans. To solidify that image, ABC made good on their name's promise of "business"--in 2004, they became dealers, selling the work of artists they liked at ABC Gallery. Change happens quickly in Moscow; now that the market has dwarfed institutional influence in Russia's art world, linking the words "art" and "business" doesn't feel as novel as it did in 2001, and Western-style corporate culture has lost the cachet of an exotic interloper. ABC's symbolic launch of the office into space in "Contact" came on the heels of the loss of their own office space; at the end of May, the arts complex where ABC Gallery was located shut down to make room for a new development. While Ilyukhin, Kosolapov, and Struchkova continue to work as artists, businesspeople, and consultants, the events of last summer seem to mark a turning point, a time for reflecting on the future of a project initiated to document social change now that those changes are entrenched.

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the Allens (2004) - Erik Bunger

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A sound and video installation where a computer program continuously changes between the different vocal incarnations of Woody Allen.

-- FROM THE ARTIST'S DESCRIPTION

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Heaven (2009) - Tabor Robak

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Tabor Robak's "Heaven" is originally from Internet Archaeology's Guest Galleries. Internet Archaeology discovers and archives graphic artifacts from earlier Internet Culture, and their Guest Galleries features work sourced from some of this material. As described in the mission statement, "[t]he purpose of the Guest Galleries is to create a dialogue between old and new; enforcing the belief that digital artifacts should be preserved and showcased for their cultural, historical and aesthetic value."

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Interview with Mark Leckey

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For anyone who has found pleasure in the dancing, drinking, and melancholy of Mark Leckey’s collage films—or the witty lyrics of his bands, JackTooJack and the defunct donAteller—it was a surprise when the British press labeled his work esoteric and over-intellectualized following his receipt of the Turner Prize last year. Perhaps the work featured in the exhibition of nominees, Cinema in the Round, lost something in the translation from a performance to a gallery installation. Leckey’s staged lecture wove Felix the Cat, Philip Guston, and The Titanic into an idiosyncratic history of art and film. Mark Leckey in the Long Tail, a new talk that premiered at the Institute of Contemporary Art, London earlier this year, takes the same approach and extends his argument into the twenty-first century, using examples and props to visualize how an internet-based economy has changed distribution, demand, and creativity. Its U.S. premiere, organized by the Museum of Modern Art, will take place at the Abron Arts Center on Oct. 1, 2, and 3. - Brian Droitcour

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