Jillian Mayer
01:15
“Hot Beach Babe Aims to Please is a seamless loop of bikini-cad Mayer walking in and out of the ocean. As soon as she enters the camera’s frame, a swarm of computer cursor arrows follow and stalk her as she moves. The pattern that the cursors assume in this video is based off eye-tracking research websites.” -JM
Jeroen Nelemans
The title is taken from a line of narration in the documentary film Microcosmos: le peuple de l’herbe (1996). This is one of the first films known for its poetic and dramatic use of close-ups of insects, with amplified sound effects. The subtle narrative of the film is de-stabilized, by separating each close-up as an individual clip and downsizing them to a 20/20 vision. The resulting audio of this piece is an amalgamation of the sounds from each individual clip. Each clip is looped and is organized in chronological order from left to right, creating a continuous “filmstrip” that acts itself like a specimen.
jnelemans.com
vimeo.com/jnelemans
Dir: Lucy Pawlak
Cinematography: Joaquin Del Paso
2015
Matrix Poppin’ Bot, your very own robotic nanny , has 3 modes – Parent, Best Friend and Teacher. She has a bump sensor, built-in CCTV, as well as touch, pain and temperature sensors on her head, arms and wheels.
Here’s what some REAL PARENTS say:
“She’s so life-like they’re gunna have to invent a whole new category between animate and inanimate!”
“Poppin’ Bot banishes the ‘dull and dirty’ work of childcare.”
“My little one’s even started talking like her – it’s so cute!”
“Poppin’ bot gives me the best of both worlds, my kids are 100% happy and I can give 100% to my work.”
“No more changing nappies, no more bathing, no more dressing, no more feeding.”
Nicole Ginelli & Caitlin Denny
02:21
2013
Ambient Exploitation is a series of cult collaborative video/audio/physical performances embodying tech idealism, corporate mantra, present intimacy, and connected collapse.
ambientexploitation.tumblr.com
Martin Murphy
Single channel video and audio
01:38
2011
Courtesy of artist and Aspect/Ratio
The video poses as a sort of commercial. It has the ingredients of popular media, bright lighting, and a familiar product, but I see it more as a reexamination of the image’s desire. Dreamer might be what the product wants; not to be consumed, but to bathe in the media influences.
Ryan O’Hare
Pickled examines the ephemeral in a time based media by destroying photographs through a chemical process. The video shows the photo emulsions breaking down as the moment itself breaks down until nothing remains.
Tina Willgren
Weather Alert consists of animated weather symbols, distorted by glitches and compression artifacts. The chance operations performed on the video and image file data create a digital world of unpredictable forms. Usually there is nothing vague about the clouds, rainfalls and wind directions presented in weather reports, but this is a forecast of ambiguous weather.
Christine Lucy Latimer
VHS
Color & Silent
04:50
2011
A video that electronically twists the fates of witches, monkeys, apparitions and conjoined bald men. Created with found VHS footage.
vimeo.com/christinelucylatimer (moving image works)
christinelucylatimer.tumblr.com (photographic works)
luxhominumvita.tumblr.com (GIF works)
Derek G. Larson
Part 3 in the Measurement series – approximate measurements in video referencing Mel Bochner’s 1969 piece Measurement: Shadow.
“The Measurements were about occupying real space and yet seeing it as an idea… you experience physical space and you experience a conception of that space. How can the two overlap? Where are the boundaries?” –Building a Language, Mel Bochner: 1973-1985
Heejin Jang
The Forbidden Entertainment presents a series of experimental video, reaching the edge of a cultural fissure through reediting and overlaying found footage and contemporary music TV broadcasts. It is an investigation of very different media cultures that surround the artist: South Korean and North Korean pop cultures. The convolution of stretched and dismantled footage not only fuses the separation of both two Korea’s cultural identities, but also discloses the taboos drawn on both media culture: banning the act of looking at the audiovisual entertainments of counterparts, and the denial of facing the beauty of each other.