(((((((!!!!))))))

2010-12-06T18:07:00.001-08:00

2010-12-06T18:06:00.001-08:00

2010-12-06T17:51:00.001-08:00

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2010-07-16T18:55:00.001-07:00

does she know all these men are um...not her type?

i cant wait to get this film in the mail to experience its beauty and horror

2010-07-16T18:03:00.001-07:00

2010-07-16T17:49:00.001-07:00

2010-07-12T13:27:00.000-07:00

george elliott? love

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cereal killah

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i want whatever shes on...

2010-07-07T17:18:00.000-07:00

russian new wave?

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OUT OF CONTROLLLL

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# #
(via maxcapacity)

i want to be there

2010-06-09T14:02:00.000-07:00

mayjor tunes

2010-06-07T15:38:00.000-07:00

getting ready for summer. breath. sigh. ahh.

2010-06-07T14:14:00.000-07:00

2010-06-06T14:38:00.000-07:00

2010-06-06T14:27:00.001-07:00

ALAIN ROBBE-GRILLET

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llll

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2010-06-06T00:15:00.000-07:00

DOES ANYONE HAVE A COPY OF THIS OR KNOW WHERE I CAN GET ONE?? I WOULD BE SO GREATFUL!

2010-06-05T23:56:00.001-07:00

2010-06-05T23:55:00.000-07:00

i must watch this tomorow.

2010-06-05T23:38:00.001-07:00


Carolee Schneemann, 1967 Runtime: 22 min. Format: Bootleg	Carolee Schneemann was primarily a visual artists who dealt with themes pertaining to womens bodies, and in turn, feminist thought. Her most notorious film is Fuses, a 23 minute film that attempts to answer the question of whether or not it is possible to shoot the act of sex without falling prey to being "mere pornography" (or to the objectification of women). And that is the primary bulk of the film, Schneemann and her then partner James Tenney having sex, while the collage and colors are layered over the primary images. Occasionally other images break through, such as Schneemann's cat Kitch watching, trees outside, and Schneemann running into an ocean. As an experimental film it's primary strength comes from marrying it's form with it's content. Instead of using film to merely exploit the physical, material aspects (to no greater end other than theory, as many Materialist [or as Sitney would term, Structuralism] films of the day did, i.e. James Landow, Tony Condrad, Hollis Frampton, etc.) the form of the film physically reflects the content. The act of lovemaking is presumed to be a beautiful, intense thing, so there is a heavy aesthetic consideration. For the first part of the film, the color read cloaks the sex as rapid cuts and film scratches create a mood of chaos than can be considered akin with the chaotic joy of sex. The film stock is beautiful and dirty in the same way that sex can be beautiful and dirty. The camera work is also dislocating and disorienting in the fact that often it takes a few seconds before the viewer can determine what part of the man or womans body he is looking at. In fact, much of the overlaid abstraction present in the first half of the film works to objectively distance the viewer from the act that is appearing on screen. We know what is going on, but our eyes focus more on the abstraction that is present. This change of focus helps to create a sort of emotional tension that can be allied with the feelings that are present during sex. During sex there is often a giving-up of bodily control to pleasure, and this visual chaos elaborates this. Visceral close-ups are less shocking under layers of scratches and colors; we know what we're seeing but are not offended, nor even put off by them. The aforementioned disorientation helps to view the body parts for what they are; simply human body parts. In this context they are divorced from the eroticizing signifier; the audience is not turned on. But the experience is a pleasant one, as the colorful chaos that decorates the film is, as I've mentioned before, very aesthetically pleasing. One very interesting element of the film is that Schneemann often uses visual icons to imply a sort of binary opposition. Night is contrasted with day, the male nude body with the female nude body, winter and summer, warm colors and cold colors (the end of the film is primarily masked in blue). The oppositions help to extend the idea of a tension that is present. But what's more interesting to me is that these images are presented in binary oppositions in what could purportedly be termed a feminist film; from my understanding a the major feminist goal (much like that of post-structuralism) is to eradicate the idea of a binary opposition between the sexes. I fear that the opposing images of a man's body followed by a womans somewhat undermines this, but I think (I might be wrong here) that in 1967 the idea of tearing down this opposition wasn't as prevalent in feminist thought. The only other figure in the film is the cat, Kitch. While it can obviously be read as a stand in for the voyeur, which is ostensibly us (us being the audience), it's hard to not also read the cat as a visual pun for Schneeman's genitalia (pussy/pussy). Another proto-feminist idea present in the film is Schneemann's incorporation of nature shots that punctuate certain sections; leaves, trees, and most importantly, the ocean. It's somewhat archaic to consider the female body as one with nature (although many important Feminists subverted this idea into a sort of Goddess worship that reclaimed the idea), but it helps to create an easing sense of beauty, the female body juxtaposed with the natural world. Also punctuating the film are light permeated shots of Schneemann running into the ocean, something that can possibly be read as a sort of "return to the womb," a uniquely feminine attribute. Jess Franco would also explore the ocean as an endpoint in many of his films (Sexual Story of O comes to mind immediately), but Schneemann uses it in a significantly female context. As a film, Fuses suffers from mediocre, somewhat amateur camera work and, more unfortunately, a lack of rhythm in the editing. The ideas of the film remain, but one can't help but wish that some sort of rhythm could have carried the duration of the film in a more interesting manner. Another complaint for me is that the film has no climax, but to have a climax a narrative structure is required, and Schneemann isn't telling a story, she's showing us an act. Regardless, the film is subtly powerful. Fuses is available to watch online at UbuWeb. Mike Kitchell, 2007

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Mike Kitchell, 2007

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bill nelson

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GWAR

2010-05-27T14:09:00.000-07:00

RAW THRILLS!!!

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GET ON IT

Raw Thrills-Komiche Traveling With Vampires from A. Jordan on Vimeo.

THE GODDESS BUNNY DOCUMENTARY

2010-05-25T14:03:00.000-07:00

WATCH THE WHOLE THING HERE: http://www.youtube.com/user/horny4u2nite#p/u

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oh my gosh...how freaking cute

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2010-05-25T12:57:00.000-07:00

geneva jacuzzi

2010-05-24T12:29:00.001-07:00

really amazing show at the echo last night.
really.

watch this. love me.

2010-05-21T15:18:00.001-07:00

love me down from Natalie Rodgers on Vimeo.

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2010-05-21T13:53:00.000-07:00

new website

2010-05-21T12:10:00.001-07:00

for my work . this one is just a collection of found stuff

http://natalierodgers.tumblr.com/

http://natalierodgers.tumblr.com/

http://natalierodgers.tumblr.com/

http://natalierodgers.tumblr.com/

http://natalierodgers.tumblr.com/

i totally forgot

2010-05-20T18:39:00.001-07:00

how much i loved this. thanks zak. xo

FUCKING AMAZING

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haha

forever i will feel like this

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ESPLENDOR GEOMETRICO - DESTROZARON SUS OVARIOS

2010-05-19T16:09:00.001-07:00

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via http://fmtownsmarty.tumblr.com/

and

http://fvckface.tumblr.com

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illuminati?

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i want one!!

2010-05-17T14:28:00.001-07:00

HAPPY BIRTHDAY YOUTUBE!!!

2010-05-17T13:37:00.000-07:00

I SRSLY LOVE YOU MORE THAN ANYTHING!
AND TO CELEBRATE YOUR FREEKIN BIRTHDAY IM GON POST SOME OLLD YOU TUBE FAVORITES! YEAHAYAYA

RIP SHAYE :(

2010-05-17T13:18:00.000-07:00

eric fournier, the man supposedly behind one of my favorite things in the universe SHAYE SAINT JOHN has apparently died of gastrointestinal bleeding. :(
Shaye's videos were what sparked my interest in internet culture and performance through youtube back when i was in art school. These videos gave me a hope that my art would soon find a place in this world and that video was the way i was supposed to communicate. I am deeply upset that there will be no more videos from shaye/eric and i know shaye is on the internet in the afterlife i just need to find a chatroom to communicate with har.

Shaye Saint John is the fictional star of a series of "triggers," short films directed and co-written by Eric Fournier. Saint John may or may not be Fournier, either a character (such as Tyler Perry's cross-dressing Madea) or a persona (such as a drag queen).

Triggers feature rapid camera cuts, morphed sound, negative exposure, and crude special effects. Shaye is typically the only human on-screen (and also the only character with audible dialog), though an array of secondary characters portrayed by burnt plastic dolls make frequent appearances. Throughout the triggers, Shaye bestows history, personality, and speech on these recurring doll characters, thus turning them into recognizable members of the Shaye Saint John cast. Dolls include Kiki, Kirsten, Hagatha, and others.

Shaye's purported background is that of a model and actress, and she still reveals aspirations and commitments to doing both, despite a supposed accident that left her quadriplegic and disfigured by burns. Shaye has four prosthetic limbs and utilizes a wheelchair, though her mobility and ability seem only minorly affected. For example, she can still walk, dance, and operate a telephone and a cash register. She seems not to be aware of her disfigurement, referring to her legs as though they were made of flesh, suntanning, and only making rare references to her accident on-screen. She wears a white mask that conceals her face upward from the upper lip, and she sports various wigs. Her chin is sometimes covered in duct tape. For clothing, she generally wears loose linen dresses that conceal the body beneath.

She writes on her webpage, "I am an entertainer, I am a model, I am a singer, I am a magician, I am an actor. I am so many things! I am also the worlds record holder for having the most problems!"

Her webpage, which communicates a love for outsiders and strange art, claims that she lives on a compound for physically challenged people, and that the "triggers" are documentary-style snapshots of her real life there, recorded by her therapist Fournier. Some of these triggers, however, are scripted with rising action, plot developments, and suspense.

No commentary or insight about Shaye Saint John has ever been presented to the public by her creators. She can be seen as a satire of models such as Paris Hilton. Her triggers lampoon the conventions of beauty, anorexia, consumer culture, and so forth.
http://www.shayesaintjohn.net/

some shows in L.A. this week!!

2010-05-17T12:53:00.000-07:00

tonight @spaceland!
RED FANG!

tomorow @spaceland!
BLACK MATH HORSEMAN!

GREEN AND WOOD!

AND LANTVRN

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2010-05-14T16:11:00.001-07:00

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ON FIRE

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sharing

2010-05-14T14:00:00.000-07:00

free download

1. T.I Whatever you like (remix)

2. Pas De Deux Cardiocleptomanie

3. INOJ Make love you down remix

4. Gucci Mane Round one Salem remix

5. Health In Violet Salem mix

6. Felt Sunlight Bathed the golden glow

7. David Byrne and Brian Eno Strange overtones

8. CELTIC FROST A Dying God Coming Into Human Flesh

9. WHITE RING ROSES

10. WAVVES Weed Demon

11. The-Dream Rockin That Thang

12. Kas Product Take Me Tonight

13. john maus through the skies for you

14. Nirvana I Hate Myself and I Want To Die

15. Burzum Lost Wisdom(rare version)

HA

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AWESOME!!!!

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AND A COVER WTFFFFFFFF

some of my old favorites

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2010-05-13T13:52:00.001-07:00

LANTVRN

2010-05-13T12:11:00.000-07:00

One of my favorite new L.a. bands. they play at spaceland on the 18th you should all go.

http://lantvrn.com/
LANTVRN DEMOS by LANTVRN

2010-05-12T14:21:00.001-07:00

2010-05-12T12:58:00.001-07:00

2010-05-12T11:46:00.000-07:00

2010-05-12T11:35:00.001-07:00

LOVE ME

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love me down from Natalie Rodgers on Vimeo.

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2010-05-11T12:43:00.001-07:00

remix

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in love with youtube

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