More from Melbourne Museum Bunjilaka Bush Mechanics exhibition. Which was smaller than I expected. I was hoping for acres of hoonage, but these are working cars for people who need to travel the outback without a local parts shop to buy slammed and stance at.
In 2015 Pintubi Amatjere Warlpiri Media produced a claymation based on the earlier Bush Mechanics. Some of the original cast members have died, so the live action episodes cannot be viewed by many, as representations of the dead and even the use of their names are forbidden in their home communities. This practice is common in many Aboriginal cultures. The award-winning claymation allowed Bush Mechanics to return to Yuendumu.
Quickest arrival of a book ever! Quickest first read also! I’m still not over Avatar: The Legend of Korra, and probably will watch it a third time before winter is done. I didn’t really need to buy this (nor do I need to buy the other three, one for each season), but … #korrasami! Also seeing so much art lately I want to start drawing again. And Korra is so hot, especially when she’s punching the shit out of stuff. And Asami also (especially when she’s geared up and driving something fast). And once I got into it (took a couple of episodes), I started looking at all the landscapes, cityscapes, backgrounds, architecture, vehicles, all so beautifully painted—and all the fighting, so beautifully choreographed (and Lin Beifong, Topf, Bolin and Mako, Varrick and Zhu Li, Jinora, Tenzin, Kuvira, Zaheer and all the others)—and kinda fell in love with the whole world.
I smiled and laughed and yelped and waved my arms around! Korra & Asami Did The Thing!
And then in the comments on io9 I found a link to zuko is my sugar daddy saying, “people saying that korrasami had no build up and was forced …” followed by 48 images of Korra and Asami over four years of Avatar: The Legend of Korra which leave no other possibility for what happened in the final episode. This is how good short-form animation can be.
A couple of things from the world of dance that isn’t performed. One is an essay from The Chronicle Review, Dancers as Living Archives. It’s slightly New York focussed – Martha “satan” Graham (not even deserving of an upper-case ‘s’-satan), Balanchine, Yvonne Rainer and Trio A. I was hoping for something a little more intellectual or scientific in respect to dancers’ formidable ability to corporeally recall movement, especially when the conscious mind doesn’t. To watch a dancer’s body remember the movement, and to see that recollection permeate their conscious mind, or to experience it, your own body moving as if following an unseen map is perhaps the single most profound cognitive aspect of dancing.
Other kinds of memory, like my laptop harddrive, which is certainly a part of me as are my own internal memories (haha). From the newly discovered and instantly rss-ed splines in space is an scribbling on top of dance video. Kinda like a Photoshop plugin for video, and probably something you could do through Final Cut Pro/Motion/Shake if you were prepared to go through the pain of learning these applications well. Zach Lieberman‘s Rotosketch makes it easy.
Rotosketch is quite simply an intuitive tool for sketching, doodling and notating on top of video,such that the marks that are made are linked in time with the video. This allows theuser to draw strokes along the the axis of time, as well as the normal x and y axes,and for those strokes to augment, analyze, interpret, or even obliterate a video sequence.
Emile Zile, who regular readers will know of as the evil black hand of Morloch and all-round defiler of good taste is curating an exhibition at Spacement in Melbourne, which for some reason is banned in China. Lots of fully wicked video artists like Alex and Liane (DE), Yoshi Sodeoka (JP/NY), Helena Montesinos (CH), David Blumenstein (AU), Marcus Valentine (UK), Marcus Keating (AU), Touch Me Tiger (AU), Anton Nguyen (AU). Opens Thursday 19th May.
Emile Zile could be described as a 21st Century renaissance man when it comes to new media. For Zile, ” whatever fits the idea, whatever medium”.
His career includes such diverse mediums as live performance, festival video, photography, club nights and electronic mongoloids without roots.
Zile’s recent projects include co-producing of CORNERFOLD ISSUE NINE for SBS NEWMEDIA, participation in the NOISE FESTIVAL in october 03 and a national co-ordinator of the YOUNG WRITERS FESTIVAL in newcastle NSW
Among the films in the program are: Mindscape (腦內風景) by Hsieh Pei-wen (謝珮雯), Two Sides (介) by Chiou Hsien-yuan (邱顯源) and Crossing Boundaries (越界) by Su Zhi-ming (蘇志明).
In the past 10 years the Tainan National College of Arts (國立台南藝術學院) and the National Taiwan University of Arts (國立台灣藝術大學) has fostered domestic talent and many artists at Welcome Taiwan come from the two schools.
The two-year-old Taiwan International Animation Festival (台灣國際動畫影展), which is sponsored by the Government Information Office (新聞局, GIO) and organized by the Chinese Taipei Film Archive (國家電影資料館), provides an opportunity for local young artists to show their works to their fellow country people, as well as curators from overseas festivals, such as Annecy.