Ticketmaster. Ah, who doesn't hate it? The fees, etc.
But of course, now almost exactly 24 hours after not getting Rose Bowl tickets, after trying on two phone lines and two computers from a little before 8 PST to about 8:30, only to go on stub hub and see 8 PAGES of listings for just-purchased Rose Bowl tickets at two to three times the price,
1) in a system, when there is great financial benefit (or other gain) to be made from using the system for financial benefit than for the reason the system was made (this is derived perhaps from another Blackmur? Babbage? idea, which is the designer of the saw cannot see all the ways the saw will be used, a homely variation on intention and on anticipation and on use case -- in this case, the capitalist reason for a system intended to democratise), that system will be used for financial gain.
Here, this is complicated by the fact that for sporting events, especially at public or quasi-public venues (the rose bowl) presenting college sports (which generates a great deal of money for schools, but is not wisely treated by law, ethics, what have you, as what it is), a certain number of seats are reserved for 1) local residents, 2) season ticket holders for the sports teams involved, 3) direct relatives of the players, and these groups (perhaps there are more groups, too) have separate lotteries. The losers of these lotteries are thrown into competition with the public. The public tickets are mostly offered below "going rate," perhaps because what the going rate was can only be established after the fact, but also because the idea that the majority of unmotivated, not wealthy people who are truly interested in seeing the game cannot afford the true going rate, that the going rate is so high it shocks us because it does not fit into our skewed vision of college sport as quasi-public (I think it is about $300. a ticket), and that there is a significant minority of wealthier, less motivated people who will pay the going rate just to have something to do New Years Day after the Rose Parade.
2) The "war on terror" fix is perhaps the easiest effective one for this. If your ID doesn't match the one on your ticket, you can't enter the stadium. Non-transferable tickets. Turn them into will call, which will refund your money if they can revend the tickets. Ironic, how the "war on terror" move fixes the flaw in a system uneasily between one distributing rare commodities and one exploiting the distribution of same.
12.09.2009
Blackmur on Eliot like milk. On Moore, not as good for falling asleep. However, his "behaviour" is simply subbing in for the more familiar catholic "acts" or "deeds" and everything else for "faith" or -- here importantly -- words.
Interestingly, he then eliminates everything from the Four Quartets seemingly impelled by one of Eliot's rubrics, schemes, symbol sets, and reduces the poems to Eliot's poetic -- not ticking, habit, throat clearing, quite, but his images which come more from paradox than from a paradoxical structure.
More on that later.
Interestingly, he then eliminates everything from the Four Quartets seemingly impelled by one of Eliot's rubrics, schemes, symbol sets, and reduces the poems to Eliot's poetic -- not ticking, habit, throat clearing, quite, but his images which come more from paradox than from a paradoxical structure.
More on that later.
12.08.2009
How to Solve It suggests the following steps when solving a mathematical problem:
First, you have to understand the problem.
After understanding, then make a plan.
Carry out the plan.
Look back on your work. How could it be better?
If this technique fails, Pólya advises: "If you can't solve a problem, then there is an easier problem you can solve: find it."[2] Or: "If you cannot solve the proposed problem, try to solve first some related problem. Could you imagine a more accessible related problem?"
First, you have to understand the problem.
After understanding, then make a plan.
Carry out the plan.
Look back on your work. How could it be better?
If this technique fails, Pólya advises: "If you can't solve a problem, then there is an easier problem you can solve: find it."[2] Or: "If you cannot solve the proposed problem, try to solve first some related problem. Could you imagine a more accessible related problem?"
12.03.2009
Artist Curated Projects presents
THREE WOMEN
Performances by
DAWN KASPER TAISHA PAGGETT NANCY POPP
DECEMBER 12th, 4-8 pm
@ the home of Eric Kim
2200 BRIER AVENUE, SILVER LAKE CA 90039
for more info please visit www.artistcuratedprojects.com
Taisha Paggett is a Los Angeles based dance artist and co-founder of the dance journal project itch. Her work and collaborations for the stage, gallery, and public sphere have been presented and supported by several venues throughout California as well as in Chicago, New York City and Utrecht, The Netherlands. She maintains an ongoing collaborative project “On movement, thought and politics” with visual artist Ashley Hunt and is a member of the audio action collective Ultra-red. She has worked extensively in the projects of Victoria Marks and David Rousseve/REALITY and holds an MFA from UCLA’s Department of World Arts and Cultures.
Nancy Popp is a Los Angeles-based artist working a range of media, including performance, video, drawing and photography. Her projects investigate the body as a site and a material, along with the risk and vulnerability of serious play. Recent exhibitions include Overflow at the Getty Research Institute, Untitled (Street Performances) at the Atlanta Contemporary Arts Center, The Audacity of Desperation at Gallery PS122 in New York, Documental at Pilot Projekts in Dusseldorf, and Cheking Point at The Rex Cultural Center in Belgrade. She holds degrees from Art Center College of Design and the San Francisco Art Institute.
Dawn Kasper is a Los Angeles based performance and mixed media artist actively investigating existing and created emotional structures. She has performed at the Migros Museum Fair, Genenwartskunst in Zurich, Switzerland, the J. Paul Getty Museum, Art Positions: Art Basel Miami Beach, shown video at Art in General in New York, sculpture at Raid Projects, installation at Anna Helwing Gallery, and photos at Circus of Books Gallery in Los Angeles.
THREE WOMEN
Performances by
DAWN KASPER TAISHA PAGGETT NANCY POPP
DECEMBER 12th, 4-8 pm
@ the home of Eric Kim
2200 BRIER AVENUE, SILVER LAKE CA 90039
for more info please visit www.artistcuratedprojects.com
Taisha Paggett is a Los Angeles based dance artist and co-founder of the dance journal project itch. Her work and collaborations for the stage, gallery, and public sphere have been presented and supported by several venues throughout California as well as in Chicago, New York City and Utrecht, The Netherlands. She maintains an ongoing collaborative project “On movement, thought and politics” with visual artist Ashley Hunt and is a member of the audio action collective Ultra-red. She has worked extensively in the projects of Victoria Marks and David Rousseve/REALITY and holds an MFA from UCLA’s Department of World Arts and Cultures.
Nancy Popp is a Los Angeles-based artist working a range of media, including performance, video, drawing and photography. Her projects investigate the body as a site and a material, along with the risk and vulnerability of serious play. Recent exhibitions include Overflow at the Getty Research Institute, Untitled (Street Performances) at the Atlanta Contemporary Arts Center, The Audacity of Desperation at Gallery PS122 in New York, Documental at Pilot Projekts in Dusseldorf, and Cheking Point at The Rex Cultural Center in Belgrade. She holds degrees from Art Center College of Design and the San Francisco Art Institute.
Dawn Kasper is a Los Angeles based performance and mixed media artist actively investigating existing and created emotional structures. She has performed at the Migros Museum Fair, Genenwartskunst in Zurich, Switzerland, the J. Paul Getty Museum, Art Positions: Art Basel Miami Beach, shown video at Art in General in New York, sculpture at Raid Projects, installation at Anna Helwing Gallery, and photos at Circus of Books Gallery in Los Angeles.
12.01.2009
this is going to get shortened but
Statement of Plans
My creative writing plans are always to extend and expand my knowledge and practice in order to attempt to produce literature. This application period finds me both in the middle of some large projects and at the end of a way of thinking about my pursuits which has been productive, but leaves me with some important questions. In other words, it is time for me to reconsider my work and the ways I go about making it. I am well aware that the Stegner is not usually granted to mid-career writers. When I was still pre-book, but both pre- and post-MFA, I applied to you. I would benefit from and contribute to the life of the mind at Stanford and in the world by spending two years in supported workshops, library (research) access, and tuition. I am applying to you again that you might consider that I have a need and plan for two fellowship years.
My book Locket was accepted for publication six years before it was published and nine years after I wrote most of the poems I included in it. During this long wait, this sort of poem I write came to represent my concentration on the lyrical. My most recently-published book, Vauxhall, includes poems I began to write after I completed the first draft of Locket. Thus, it came to represent, to me, my continuing exploration of the lyric. What next? Two manuscripts, which I have excerpted in my sample, represent different sorts of lyric poems which have found their ways into journals more easily than the others, but yet not into books. Two variant groups of narrative lyrics I wrote and still write have gotten lost under my “lyric thread” rubric. As you know better than I could possibly know, Stanford has and has had a “perfect storm” of poets and critics working across aesthetics and theories deeply concentrated on the lyric.
Before Locket reached print, I wrote a project-based book, Heresy. It became the central volume of my trilogy DaDaDa. The response I received to DaDaDa was encouraging, and I expanded the project to chart the idea of the confessional together with women’s writing, modern technology, and 20th century poetics. The second trilogy, entitled OOD: Object-Oriented Design, has been accepted for publication. I am beginning to work on the next trilogy, Dea. This research-intensive writing marries form, theory/philosophy, and my technical knowledge, but it is perhaps most unusual in that it is very long, but not a life work. Or maybe it is unusual because I’m one of the few former software developers formally educated only in poetry.
I began to form a distaff trilogy of works related to the works in the long project. For example, a poem in this book consists of all of the etymological forms of mystic keywords in the device in the Heresy poems of DaDaDa. Some of these poems are in Paper Craft. As a designer, I was careful to write a book to exist importantly in print and as a printout. Many of the poems are dictionary definitions of paper objects folded into that object (plane, airplane, and aeroplane folded into paper airplanes), along with fold lines for creating meta-poems from the printout. A second book which continues to treat texts made of texts as peculiar objects is forthcoming. It is called Craft + Work. There’s another book accepted for publication called Heavy Rotation. I have shown the objects these poems are “read from” in gallery shows locally, nationally, and even internationally.
Another set of works made to take advantage of their .pdf publication uses a series of four Hello Kitty coloring books as source texts. The first, Secret Kitty, is a critique of flarf. The second, Kittenhood, is a collaborative exploration of Olson’s Dogtown and MS Word Art. The projected next volume, Calico Cat, thus far consists of various color-music scales, such as Madame Blavatsky’s, applied to text.
Statement of Plans
My creative writing plans are always to extend and expand my knowledge and practice in order to attempt to produce literature. This application period finds me both in the middle of some large projects and at the end of a way of thinking about my pursuits which has been productive, but leaves me with some important questions. In other words, it is time for me to reconsider my work and the ways I go about making it. I am well aware that the Stegner is not usually granted to mid-career writers. When I was still pre-book, but both pre- and post-MFA, I applied to you. I would benefit from and contribute to the life of the mind at Stanford and in the world by spending two years in supported workshops, library (research) access, and tuition. I am applying to you again that you might consider that I have a need and plan for two fellowship years.
My book Locket was accepted for publication six years before it was published and nine years after I wrote most of the poems I included in it. During this long wait, this sort of poem I write came to represent my concentration on the lyrical. My most recently-published book, Vauxhall, includes poems I began to write after I completed the first draft of Locket. Thus, it came to represent, to me, my continuing exploration of the lyric. What next? Two manuscripts, which I have excerpted in my sample, represent different sorts of lyric poems which have found their ways into journals more easily than the others, but yet not into books. Two variant groups of narrative lyrics I wrote and still write have gotten lost under my “lyric thread” rubric. As you know better than I could possibly know, Stanford has and has had a “perfect storm” of poets and critics working across aesthetics and theories deeply concentrated on the lyric.
Before Locket reached print, I wrote a project-based book, Heresy. It became the central volume of my trilogy DaDaDa. The response I received to DaDaDa was encouraging, and I expanded the project to chart the idea of the confessional together with women’s writing, modern technology, and 20th century poetics. The second trilogy, entitled OOD: Object-Oriented Design, has been accepted for publication. I am beginning to work on the next trilogy, Dea. This research-intensive writing marries form, theory/philosophy, and my technical knowledge, but it is perhaps most unusual in that it is very long, but not a life work. Or maybe it is unusual because I’m one of the few former software developers formally educated only in poetry.
I began to form a distaff trilogy of works related to the works in the long project. For example, a poem in this book consists of all of the etymological forms of mystic keywords in the device in the Heresy poems of DaDaDa. Some of these poems are in Paper Craft. As a designer, I was careful to write a book to exist importantly in print and as a printout. Many of the poems are dictionary definitions of paper objects folded into that object (plane, airplane, and aeroplane folded into paper airplanes), along with fold lines for creating meta-poems from the printout. A second book which continues to treat texts made of texts as peculiar objects is forthcoming. It is called Craft + Work. There’s another book accepted for publication called Heavy Rotation. I have shown the objects these poems are “read from” in gallery shows locally, nationally, and even internationally.
Another set of works made to take advantage of their .pdf publication uses a series of four Hello Kitty coloring books as source texts. The first, Secret Kitty, is a critique of flarf. The second, Kittenhood, is a collaborative exploration of Olson’s Dogtown and MS Word Art. The projected next volume, Calico Cat, thus far consists of various color-music scales, such as Madame Blavatsky’s, applied to text.
i've posted about leland hickman and temblor and douglas messerli's meetings-up-with-hickman here before, and so
You're invited to a publication party for
Tiresias: The Collected Poems of Leland Hickman
published by Nightboat Books & Otis Books/Seismicity Editions
with brief readings by Bill Mohr, Stephen Motika & Martha Ronk
Saturday, December 12, 5-7pm
Arundel Books
8380 Beverly Blvd, 3 blocks east of La Cienega Bl.
Phone: 323-852-9852
Los Angeles poet and editor LELAND HICKMAN (1934-1991) was the author of two collections of poetry: Great Slave Lake Suite (1980), which was a finalist for the Los Angeles Times Book Award, and Lee Sr. Falls to the Floor (1991). He was the editor of the poetry journal Temblor, which ran for 10 issues during the 1980s. This new volume collects all of the poems published during Hickman's life as well as previously unpublished pieces. The volume, edited by Stephen Motika, features a preface by Dennis Phillips and an afterword by Bill Mohr.
!!!!
You're invited to a publication party for
Tiresias: The Collected Poems of Leland Hickman
published by Nightboat Books & Otis Books/Seismicity Editions
with brief readings by Bill Mohr, Stephen Motika & Martha Ronk
Saturday, December 12, 5-7pm
Arundel Books
8380 Beverly Blvd, 3 blocks east of La Cienega Bl.
Phone: 323-852-9852
Los Angeles poet and editor LELAND HICKMAN (1934-1991) was the author of two collections of poetry: Great Slave Lake Suite (1980), which was a finalist for the Los Angeles Times Book Award, and Lee Sr. Falls to the Floor (1991). He was the editor of the poetry journal Temblor, which ran for 10 issues during the 1980s. This new volume collects all of the poems published during Hickman's life as well as previously unpublished pieces. The volume, edited by Stephen Motika, features a preface by Dennis Phillips and an afterword by Bill Mohr.
!!!!
11.29.2009
LANGUAGE ARTS LIVE presents THEODORE ENSLIN
reading from his work at 7:30 pm on Monday 11/30 in the Skelton Lounge at Bates College (Chase Hall 205, 56 Campus Avenue, Lewiston, ME)
Theodore Enslin has published 118 books of poetry, most recently Then and Now: Selected Poems, 1943-1993 (National Poetry Foundation, 1999) and Nine (National Poetry Foundation, 2004). Enslin's 119th volume, a prose collection, I, Benjamin, A Quasi-Autobiography, is due out from Macpherson & Co. in 2009. Enslin lives in Milbridge, Maine, where he recently completed a 20-CD series of readings from his work of the past sixty years.
This reading is made possible by support from the Department of English, the Environmental Studies Program, the Humanities Division and the John Tagliabue Fund for Poetry at Bates College.
LANGUAGE ARTS LIVE, FALL 2009
BATES COLLEGE, LEWISTON, MAINE
http://languageartslive.wordpress.com/
All readings free and open to the public
reading from his work at 7:30 pm on Monday 11/30 in the Skelton Lounge at Bates College (Chase Hall 205, 56 Campus Avenue, Lewiston, ME)
Theodore Enslin has published 118 books of poetry, most recently Then and Now: Selected Poems, 1943-1993 (National Poetry Foundation, 1999) and Nine (National Poetry Foundation, 2004). Enslin's 119th volume, a prose collection, I, Benjamin, A Quasi-Autobiography, is due out from Macpherson & Co. in 2009. Enslin lives in Milbridge, Maine, where he recently completed a 20-CD series of readings from his work of the past sixty years.
This reading is made possible by support from the Department of English, the Environmental Studies Program, the Humanities Division and the John Tagliabue Fund for Poetry at Bates College.
LANGUAGE ARTS LIVE, FALL 2009
BATES COLLEGE, LEWISTON, MAINE
http://languageartslive.wordpress.com/
All readings free and open to the public
CAROL
THOMAS MERTON
( 1915-1968)
Flocks feed by darkness with a noise of whispers,
In the dry grass of pastures,
And lull the solemn night with their weak bells.
really wonderful sound in this first stanza; makes it dramatic -=- really makes the whole poem
The little towns upon the rocky hills
Look down as meek as children:
Because they have seen come this holy time.
sorta boring, as a stanza
God's glory, now, is kindled gentler than low candlelight
Under the rafters of a barn:
Eternal Peace is sleeping in the hay,
And Wisdom's born in secret in a straw-roofed stable.
And O! Make holy music in the stars, you happy angels.
You shepherds, gather on the hill.
Look up, you timid flocks, where the three kings
Are coming through the wintry trees;
really interesting, as it is the pronouns in this stanza and the next that can be usefully cut, all are here in service of drawing an unnecessary contrast between "you" and "we" -- which is already made more subtlely by theme
While we unnumbered children of the wicked centuries
Come after with our penances and prayers,
And lay them down in the sweet-smelling hay << sweet hay
Beside the wise men's golden jars. , or just golden jars
THOMAS MERTON
( 1915-1968)
Flocks feed by darkness with a noise of whispers,
In the dry grass of pastures,
And lull the solemn night with their weak bells.
really wonderful sound in this first stanza; makes it dramatic -=- really makes the whole poem
The little towns upon the rocky hills
Look down as meek as children:
Because they have seen come this holy time.
sorta boring, as a stanza
God's glory, now, is kindled gentler than low candlelight
Under the rafters of a barn:
Eternal Peace is sleeping in the hay,
And Wisdom's born in secret in a straw-roofed stable.
And O! Make holy music in the stars, you happy angels.
You shepherds, gather on the hill.
Look up, you timid flocks, where the three kings
Are coming through the wintry trees;
really interesting, as it is the pronouns in this stanza and the next that can be usefully cut, all are here in service of drawing an unnecessary contrast between "you" and "we" -- which is already made more subtlely by theme
While we unnumbered children of the wicked centuries
Come after with our penances and prayers,
And lay them down in the sweet-smelling hay << sweet hay
Beside the wise men's golden jars. , or just golden jars
A Wreath
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A wreathed garland of deserved praise,
Of praise deserved, unto thee I give,
I give to thee, who knowest all my wayes,
My crooked winding wayes, wherein I live,
Wherein I die, not live : for life is straight,
Straight as a line, and ever tends to thee,
To thee, who art more farre above deceit,
Then deceit seems above simplicitie.
Give me simplicitie, that I may live,
So live and like, that I may know thy wayes,
Know them and practise them : then shall I give
For this poore wreath, give thee a crown of praise.
User Rating:
10.0 /10
(1 votes)
Print friendly version
E-mail this poem to e friend
Send this poem as eCard
Add this poem to MyPoemList
A wreathed garland of deserved praise,
Of praise deserved, unto thee I give,
I give to thee, who knowest all my wayes,
My crooked winding wayes, wherein I live,
Wherein I die, not live : for life is straight,
Straight as a line, and ever tends to thee,
To thee, who art more farre above deceit,
Then deceit seems above simplicitie.
Give me simplicitie, that I may live,
So live and like, that I may know thy wayes,
Know them and practise them : then shall I give
For this poore wreath, give thee a crown of praise.
11.19.2009
XL THIS 19, the annual toy camera film festival, premieres Monday, Dec 7, 2009 with two different shows at 7 & 9pm, at Unurban, 3301 Pico Blvd, Santa Monica, CA 90404, 310-315-0056, free admission, preshow at 6pm, laughtears.com
PXL THIS, featuring films made with the Fisher-Price PXL 2000 toy camcorder, is one of the longest running film festivals in the entertainment capital of the world. Celebrating "cinema povera" moving image art, it evokes Marcel Duchamp's axiom "Poor tools require better skills." Pixelators from across the globe hoick up inventive approaches to the unassuming throw-away of consumer culture. These low-tech hi-jinx films come through loud and clear by reframing a new cinema language. "If movies offer an escape from everyday life, Pixelvision is the Houdini of the film world." - SF Weekly
"Gerry Fialka’s annual PXL THIS is a reliably surprising & seductive round-up of recent work achieved with the PXL 2000 camera. This humble outdated “toy” continues to bring out the visionary child in filmmakers and viewers alike, and no one has kept the PXL flame burning longer or brighter than Gerry." - Michael Almereyda, director
PXL THIS 19 highlights include:
PXL-2000 Inventor James Wickstead's COLOR PXL is the world premiere of the only footage ever shot with this one-of-a-kind PXL-2000 color camcorder. (see Wickstead's essay below)
L.M. Sabo's I PUSH ON captures an individual's personal protest against big oil through simply cutting their lawn every week with a push reel mower. Press ready stills:
members.cox.net/l.m.sabo/I-Push-On-1.jpg
members.cox.net/l.m.sabo/I-Push-On-2.jpg
members.cox.net/l.m.sabo/I-Push-On-3.jpg
members.cox.net/l.m.sabo/I-Push-On-4.jpg
Clint Enns' THE AESTHETICS OF FAILURE, from Canada, is simultaneously about his inability to interact with party people as well as the PXLcam's inability to properly interpret the going-ons. Press ready stills
i46.photobucket.com/albums/f104/dogmatodisco/TheAestheticsofFailure1.jpg
i46.photobucket.com/albums/f104/dogmatodisco/TheAestheticsofFailure2.jpg
Michael Possert Jr's SOUTHWEST MUSEUM 2009 RECAP - The Autry National Center is burning a lot of donor money to crush the Los Angeles community that wants to keep the Southwest Museum alive and well. Friends of the Southwest Museum Coalition spokesperson - Nicole Possert - gives a clear overview of the contentious merger issues. Press ready stills:
flickr.com/photos/2007pxl/4089654335/sizes/o/in/set-72157622645002779/
flickr.com/photos/2007pxl/4089653633/sizes/o/in/set-72157622645002779/
flickr.com/photos/2007pxl/4090417128/sizes/o/in/set-72157622645002779/
Chris Bentley's THE WANDERING ERA concerns a small group of human survivors traveling through the desert in search for others of their kind after a series of apocalypses. Press ready stills:
cbimage.com/Wandering_Era_still_1_300dpi.jpg
cbimage.com/Wandering_Era_still_2_300dpi.jpg
Suki Ewers & Clifford Novey's T ZERO is a metaphysical adventure in light and shadow inspired by the fog.
Jon Clark's SURGEON's REPTILE MESS simultaneously represents visually the repetitive synthesized rhythms of Minimal Techno music while still retaining human touch.
The Count of Manifesto & Hillary Kaye's ENCASED and MOURNING gerrymander the warfare state.
Jesse Drew's CULTURAL DEMOCRACY - Technocultural professor gets students to flip their wigs over Pixelvision. With rare Craig Baldwin appearance.
Donovan Seelinger's SOMETHING YOU HAVE TO KNOW - Whiz kid enlightens his audience.
Geoff Seelinger's THE CUTTING - A bloom is set up, controlled and taken on a journey that is pointless, scary, exciting and in moments beautiful. Press ready still- lalawest.org/thecutting/TheCuttingStill.png and vimeo.com/6579693
Seelinger's BREEZE OUT BACK - The effects of breeze on things observed from my back porch, seen in low resolution stuttering black and white pixels, produces an ominous dream-scape. The sounds of wind noise are constructed into music concrete. Press ready stills:
lalawest.org/BreezeOutBack/BreezeOutBack1.png
lalawest.org/BreezeOutBack/BreezeOutBack2.png
lalawest.org/BreezeOutBack/BreezeOutBack4.png
lalawest.org/BreezeOutBack/BreezeOutBack6.png
Mariko Drew's WILD BEAST - Young gal and her kitten frolic about the light continuum.
Six-year-old Chester Burnett's DONUT MEMORIAL reanimates a dead pastry.
Bill Burnett's SONGS ARE is a statement of a true song believer.
David Healey presents his photos in DISCOVERING VENICE.
Joe Nucci's ME, THE P.A. & DAVID LEE is the third chapter in a captivating trilogy of hilarious limo driver recollections. His BENHAM'S DISK spins.
Stormin' Norman & Suzy Williams' BLACK EYE AT THE REDEYE energizes rag'n'roll with joyous passion.
Doug Ing's WORK asks if we work to live or live to work.
Will Erokan's KITING probes Sigurd Frey's experience with the Internet, credit card fraud, and 9/11.
Lisa Marr and Paolo Davanzo's THE CHASER surveys the sweet history of female actresses from Hollywood's silent era.
Karin Spritzler & George Russell's transportional dreamscape AS IF ONE BREATH breathes.
Gerry Fialka's EFFECTS PRECEDE CAUSES probes WC Fields as a wool in sheep Symbolism mousing around Poe's reasoning backwards.
William Sabiston's CONVOLVULI feels like living x-rays, electrical storms, and flying saucer hallucinations. A trilogy of abstract music videos for his band Bulbs. aphidtrip.com
Mier N'Gewlieu's UCH! ACH! ECH! FEH! sounds off Yiddish wordage.
Denny Moynahan reinvents interactions with his filmic self, King Kukulele, in the near death experience SHARK HICKEY.
Jason Danti's DEX merges bop and the light fantastic.
Lala McClave's beat poetry evokes GODDESS VENICE.
Jerron Paxton's JUMP BOOGIE smoothes the blues.
Sunny War's POLICE STATE makes a political folk-punk statement.
Church of the Subgenius pioneer Janor Hypercleats' INTERVIEW WITH ROCK STAR MARILYN OSBOURNE returns with laugh-out-loud revitalizing of the street performer to stellar status.
Paul Bacca's DOESEND is another gem from Chicken Leather's Kill Radio vaults.
Program for PXL THIS 19 for Dec 7, 2009 at Unurban, Santa Monica CA laughtears.com
(PLEASE Note: the following schedule is subject to change)
7:00pm
1- SHARK HICKEY - Denny Moynahan, 6 minutes
2- SOMETHING YOU HAVE TO KNOW- Donovan Seelinger, 3 m
3- THE CUTTING - Geoff Seelinger, 6m
4- BREEZE OUT BACK - Geoff Seelinger, 3m
5- DONUT MEMORIAL- Chester Burnett, 3m
6- SONGS ARE - Bill Burnett, 2m
7- COLOR PXL - James Wickstead, 3m
8- AS IF ONE BREATH - Karin Spritzler & George Russell, 6m
9- ENCASED - The Count of Manifesto & Hillary Kaye, 2m
10- MOURNING - The Count of Manifesto & Hillary Kaye, 2m
11- BLACK EYE AT THE REDEYE - Stormin' Norman Zamcheck & Suzy Williams, 2m
12- GODDESS VENICE- Lala McClave, 2m
13- DEX - Jason Danti, 6m
14- ME, THE P.A. & DAVID LEE - Joe Nucci, 9m
15- BENHAM'S DISK - Joe Nucci, 1m
16- JUMP BOOGIE - Jerron Paxton, 3m
17- POLICE STATE - Sunny War, 4m
18- THE CHASER - Here & Now (Lisa Marr & Paolo Davanzo), 2m
9:00pm
19- SOUTHWEST MUSEUM 2009 RECAP - Michael Possert Jr, 3m
20- T ZERO - Suki Ewers & Clifford Novey, 4m
21- I PUSH ON - LM Sabo, 2m
22- SURGEON's REPTILE MESS - John Clark, 4m
23- CULTURAL DEMOCRACY - Jesse Drew, 6m
24- WILD BEAST - Mariko Drew, 6m
25- THE AESTHETICS OF FAILURE- Clint Enns, 3m
26- WORK- Doug Ing, 3m
27- KITING- Will Erokan, 4m
28- INTERVIEW WITH ROCK STAR MARILYN OSBOURNE - Janor Hypercleats, 4m
29- EFFECTS PRECEDE CAUSES - Gerry Fialka, 13m
30- CONVOLVULI - William Sabiston, 8m
31- THE WANDERING ERA - Chris Bentley, 12m
32- UCH! ACH! ECH! FEH! - Mier N'Gewlieu, 6m
33- DOESEND - Paul Bacca, 4m
PXL THIS 18 laughtears.com/PXL-THIS-18.html is available for screenings/workshops. "PXL THIS 18is the best festival yet." - Paolo Davanzo, Director of Echo Park FIlm Center echoparkfilmcenter.org rent past PXL THIS festivals and also rents PXL 2000 cameras. EPFC screens PXL THIS 19 in May 20, 2010.
See PXL THIS 18shorts: youtube.com/watch?v=xF0VKPH0ypg& & vimeo.com/3795336 &
youtube.com/watch?v=8pYGEvm7FV4 & Stills: fooie.com/birdlyStills.zip
PXL THIS Director Gerry Fialka is available for Pixelvision & Media Ecology workshops. laughtears.com/workshops.html
"Fialka's workshops are in depth communication of something extremely elusive - the history of the unimaginable - and his lively interpretation renders it useful." - William Farley, Award-winning filmmaker
"Fialka's animated Media Ecology Workshop acted like a Karate chop on the minds of my film/television students. It's rare for high school students to be exposed to these basic media fundamentals with the historical tracks that lead into present day truths. What a reality check for teens. The kids enjoyed the high-energy presentation and got a mental reorientation of how media plays on their day-to-day lives." -Romeo Carey, Media Director, Beverly Hills High School
michaelkoshkin@gmail.com is making a documentary about Pixelvision.
PXL 2000 Color Camcorder - A Brief History by James Wickstead (of JWDA) jwda@wicksteaddesign.com,
In 1995, some years after the demise of the original PXL 2000 Camcorder, JWDA was approached by Hasbro Great Britain to see if a new camera could be developed, this time incorporating higher resolution and full color. The British division of Hasbro was a small and very well structured group with a keen insight into the toy and consumer product markets.
Technically, putting all the “information” required from 3 color channels and voice onto an off-the-shelf audio tape was a considerable challenge. We were to use the original PXL Camera concept but the technical difficulty and needs for custom made, precision parts and electronics was daunting. All of this would end with a product as easy to use and very comparable to a child’s tape recorder and also be inexpensive.
Hasbro USA became aware of the program and immediately took the project from the British subsidiary. This turned out to be a major problem, since the parent company had established a poor reputation with a key vendor. Further, the parent company had no technical ability and was strictly acting as management and contract control.
The project was initially composed of intense R&D to design and prototype the camera to make certain that theory and results matched. Thereafter, we would need to provide the detail design associated with production.
The program evolved slower than expected. There were considerable negotiations required with the key vendor to provide assurances that difficulties experienced with Hasbro, previously, would not be repeated. Once placated, they began to better support the program. Within 8 months, a development system had been created and the rudimentary video was operational, storing and playing color video back from audio tape. At this point, it was obvious that the system would work and we could see physical results, although needing technical refinement.
Hasbro canceled the program after approximately 10 months. They were known for a short project attention span and this was no exception. It was quite a difference from the focus and dedication of our original partner, Fisher Price.
JWDA developed the camera further, using our own resources, but it was becoming obvious that imaging technology was evolving quickly and that solid state and not tape memory was the future. It was just a matter of time before that technology came down in cost to match the PXL concept. Other companies wanted to pick up where Hasbro left off, but it was decided that the time for PXL had past. The project officially ended in mid 1997.
In hindsight, the PXL camera was revolutionary in it’s time. The technology allowed manufacture of a very low cost easy to use camera. However, the real appeal wasn’t just the cost, but the performance, which only a child and creative adult could truly appreciate. Low resolution, black and white images and strange artifacts when used, were hallmarks of the camera and provided most astonishing results in the hands of the artist. the color PXL was a technical tour de force, but it was also an afterthought.
From this person’s perspective, meeting and interacting with the artists was as much a highpoint as seeing the original product born into the marketplace.
-------------------------
Photography
www.cbimage.com
Film Production
www.diamondmagnascope.com
PXL THIS, featuring films made with the Fisher-Price PXL 2000 toy camcorder, is one of the longest running film festivals in the entertainment capital of the world. Celebrating "cinema povera" moving image art, it evokes Marcel Duchamp's axiom "Poor tools require better skills." Pixelators from across the globe hoick up inventive approaches to the unassuming throw-away of consumer culture. These low-tech hi-jinx films come through loud and clear by reframing a new cinema language. "If movies offer an escape from everyday life, Pixelvision is the Houdini of the film world." - SF Weekly
"Gerry Fialka’s annual PXL THIS is a reliably surprising & seductive round-up of recent work achieved with the PXL 2000 camera. This humble outdated “toy” continues to bring out the visionary child in filmmakers and viewers alike, and no one has kept the PXL flame burning longer or brighter than Gerry." - Michael Almereyda, director
PXL THIS 19 highlights include:
PXL-2000 Inventor James Wickstead's COLOR PXL is the world premiere of the only footage ever shot with this one-of-a-kind PXL-2000 color camcorder. (see Wickstead's essay below)
L.M. Sabo's I PUSH ON captures an individual's personal protest against big oil through simply cutting their lawn every week with a push reel mower. Press ready stills:
members.cox.net/l.m.sabo/I-Push-On-1.jpg
members.cox.net/l.m.sabo/I-Push-On-2.jpg
members.cox.net/l.m.sabo/I-Push-On-3.jpg
members.cox.net/l.m.sabo/I-Push-On-4.jpg
Clint Enns' THE AESTHETICS OF FAILURE, from Canada, is simultaneously about his inability to interact with party people as well as the PXLcam's inability to properly interpret the going-ons. Press ready stills
i46.photobucket.com/albums/f104/dogmatodisco/TheAestheticsofFailure1.jpg
i46.photobucket.com/albums/f104/dogmatodisco/TheAestheticsofFailure2.jpg
Michael Possert Jr's SOUTHWEST MUSEUM 2009 RECAP - The Autry National Center is burning a lot of donor money to crush the Los Angeles community that wants to keep the Southwest Museum alive and well. Friends of the Southwest Museum Coalition spokesperson - Nicole Possert - gives a clear overview of the contentious merger issues. Press ready stills:
flickr.com/photos/2007pxl/4089654335/sizes/o/in/set-72157622645002779/
flickr.com/photos/2007pxl/4089653633/sizes/o/in/set-72157622645002779/
flickr.com/photos/2007pxl/4090417128/sizes/o/in/set-72157622645002779/
Chris Bentley's THE WANDERING ERA concerns a small group of human survivors traveling through the desert in search for others of their kind after a series of apocalypses. Press ready stills:
cbimage.com/Wandering_Era_still_1_300dpi.jpg
cbimage.com/Wandering_Era_still_2_300dpi.jpg
Suki Ewers & Clifford Novey's T ZERO is a metaphysical adventure in light and shadow inspired by the fog.
Jon Clark's SURGEON's REPTILE MESS simultaneously represents visually the repetitive synthesized rhythms of Minimal Techno music while still retaining human touch.
The Count of Manifesto & Hillary Kaye's ENCASED and MOURNING gerrymander the warfare state.
Jesse Drew's CULTURAL DEMOCRACY - Technocultural professor gets students to flip their wigs over Pixelvision. With rare Craig Baldwin appearance.
Donovan Seelinger's SOMETHING YOU HAVE TO KNOW - Whiz kid enlightens his audience.
Geoff Seelinger's THE CUTTING - A bloom is set up, controlled and taken on a journey that is pointless, scary, exciting and in moments beautiful. Press ready still- lalawest.org/thecutting/TheCuttingStill.png and vimeo.com/6579693
Seelinger's BREEZE OUT BACK - The effects of breeze on things observed from my back porch, seen in low resolution stuttering black and white pixels, produces an ominous dream-scape. The sounds of wind noise are constructed into music concrete. Press ready stills:
lalawest.org/BreezeOutBack/BreezeOutBack1.png
lalawest.org/BreezeOutBack/BreezeOutBack2.png
lalawest.org/BreezeOutBack/BreezeOutBack4.png
lalawest.org/BreezeOutBack/BreezeOutBack6.png
Mariko Drew's WILD BEAST - Young gal and her kitten frolic about the light continuum.
Six-year-old Chester Burnett's DONUT MEMORIAL reanimates a dead pastry.
Bill Burnett's SONGS ARE is a statement of a true song believer.
David Healey presents his photos in DISCOVERING VENICE.
Joe Nucci's ME, THE P.A. & DAVID LEE is the third chapter in a captivating trilogy of hilarious limo driver recollections. His BENHAM'S DISK spins.
Stormin' Norman & Suzy Williams' BLACK EYE AT THE REDEYE energizes rag'n'roll with joyous passion.
Doug Ing's WORK asks if we work to live or live to work.
Will Erokan's KITING probes Sigurd Frey's experience with the Internet, credit card fraud, and 9/11.
Lisa Marr and Paolo Davanzo's THE CHASER surveys the sweet history of female actresses from Hollywood's silent era.
Karin Spritzler & George Russell's transportional dreamscape AS IF ONE BREATH breathes.
Gerry Fialka's EFFECTS PRECEDE CAUSES probes WC Fields as a wool in sheep Symbolism mousing around Poe's reasoning backwards.
William Sabiston's CONVOLVULI feels like living x-rays, electrical storms, and flying saucer hallucinations. A trilogy of abstract music videos for his band Bulbs. aphidtrip.com
Mier N'Gewlieu's UCH! ACH! ECH! FEH! sounds off Yiddish wordage.
Denny Moynahan reinvents interactions with his filmic self, King Kukulele, in the near death experience SHARK HICKEY.
Jason Danti's DEX merges bop and the light fantastic.
Lala McClave's beat poetry evokes GODDESS VENICE.
Jerron Paxton's JUMP BOOGIE smoothes the blues.
Sunny War's POLICE STATE makes a political folk-punk statement.
Church of the Subgenius pioneer Janor Hypercleats' INTERVIEW WITH ROCK STAR MARILYN OSBOURNE returns with laugh-out-loud revitalizing of the street performer to stellar status.
Paul Bacca's DOESEND is another gem from Chicken Leather's Kill Radio vaults.
Program for PXL THIS 19 for Dec 7, 2009 at Unurban, Santa Monica CA laughtears.com
(PLEASE Note: the following schedule is subject to change)
7:00pm
1- SHARK HICKEY - Denny Moynahan, 6 minutes
2- SOMETHING YOU HAVE TO KNOW- Donovan Seelinger, 3 m
3- THE CUTTING - Geoff Seelinger, 6m
4- BREEZE OUT BACK - Geoff Seelinger, 3m
5- DONUT MEMORIAL- Chester Burnett, 3m
6- SONGS ARE - Bill Burnett, 2m
7- COLOR PXL - James Wickstead, 3m
8- AS IF ONE BREATH - Karin Spritzler & George Russell, 6m
9- ENCASED - The Count of Manifesto & Hillary Kaye, 2m
10- MOURNING - The Count of Manifesto & Hillary Kaye, 2m
11- BLACK EYE AT THE REDEYE - Stormin' Norman Zamcheck & Suzy Williams, 2m
12- GODDESS VENICE- Lala McClave, 2m
13- DEX - Jason Danti, 6m
14- ME, THE P.A. & DAVID LEE - Joe Nucci, 9m
15- BENHAM'S DISK - Joe Nucci, 1m
16- JUMP BOOGIE - Jerron Paxton, 3m
17- POLICE STATE - Sunny War, 4m
18- THE CHASER - Here & Now (Lisa Marr & Paolo Davanzo), 2m
9:00pm
19- SOUTHWEST MUSEUM 2009 RECAP - Michael Possert Jr, 3m
20- T ZERO - Suki Ewers & Clifford Novey, 4m
21- I PUSH ON - LM Sabo, 2m
22- SURGEON's REPTILE MESS - John Clark, 4m
23- CULTURAL DEMOCRACY - Jesse Drew, 6m
24- WILD BEAST - Mariko Drew, 6m
25- THE AESTHETICS OF FAILURE- Clint Enns, 3m
26- WORK- Doug Ing, 3m
27- KITING- Will Erokan, 4m
28- INTERVIEW WITH ROCK STAR MARILYN OSBOURNE - Janor Hypercleats, 4m
29- EFFECTS PRECEDE CAUSES - Gerry Fialka, 13m
30- CONVOLVULI - William Sabiston, 8m
31- THE WANDERING ERA - Chris Bentley, 12m
32- UCH! ACH! ECH! FEH! - Mier N'Gewlieu, 6m
33- DOESEND - Paul Bacca, 4m
PXL THIS 18 laughtears.com/PXL-THIS-18.html is available for screenings/workshops. "PXL THIS 18is the best festival yet." - Paolo Davanzo, Director of Echo Park FIlm Center echoparkfilmcenter.org rent past PXL THIS festivals and also rents PXL 2000 cameras. EPFC screens PXL THIS 19 in May 20, 2010.
See PXL THIS 18shorts: youtube.com/watch?v=xF0VKPH0ypg& & vimeo.com/3795336 &
youtube.com/watch?v=8pYGEvm7FV4 & Stills: fooie.com/birdlyStills.zip
PXL THIS Director Gerry Fialka is available for Pixelvision & Media Ecology workshops. laughtears.com/workshops.html
"Fialka's workshops are in depth communication of something extremely elusive - the history of the unimaginable - and his lively interpretation renders it useful." - William Farley, Award-winning filmmaker
"Fialka's animated Media Ecology Workshop acted like a Karate chop on the minds of my film/television students. It's rare for high school students to be exposed to these basic media fundamentals with the historical tracks that lead into present day truths. What a reality check for teens. The kids enjoyed the high-energy presentation and got a mental reorientation of how media plays on their day-to-day lives." -Romeo Carey, Media Director, Beverly Hills High School
michaelkoshkin@gmail.com is making a documentary about Pixelvision.
PXL 2000 Color Camcorder - A Brief History by James Wickstead (of JWDA) jwda@wicksteaddesign.com,
In 1995, some years after the demise of the original PXL 2000 Camcorder, JWDA was approached by Hasbro Great Britain to see if a new camera could be developed, this time incorporating higher resolution and full color. The British division of Hasbro was a small and very well structured group with a keen insight into the toy and consumer product markets.
Technically, putting all the “information” required from 3 color channels and voice onto an off-the-shelf audio tape was a considerable challenge. We were to use the original PXL Camera concept but the technical difficulty and needs for custom made, precision parts and electronics was daunting. All of this would end with a product as easy to use and very comparable to a child’s tape recorder and also be inexpensive.
Hasbro USA became aware of the program and immediately took the project from the British subsidiary. This turned out to be a major problem, since the parent company had established a poor reputation with a key vendor. Further, the parent company had no technical ability and was strictly acting as management and contract control.
The project was initially composed of intense R&D to design and prototype the camera to make certain that theory and results matched. Thereafter, we would need to provide the detail design associated with production.
The program evolved slower than expected. There were considerable negotiations required with the key vendor to provide assurances that difficulties experienced with Hasbro, previously, would not be repeated. Once placated, they began to better support the program. Within 8 months, a development system had been created and the rudimentary video was operational, storing and playing color video back from audio tape. At this point, it was obvious that the system would work and we could see physical results, although needing technical refinement.
Hasbro canceled the program after approximately 10 months. They were known for a short project attention span and this was no exception. It was quite a difference from the focus and dedication of our original partner, Fisher Price.
JWDA developed the camera further, using our own resources, but it was becoming obvious that imaging technology was evolving quickly and that solid state and not tape memory was the future. It was just a matter of time before that technology came down in cost to match the PXL concept. Other companies wanted to pick up where Hasbro left off, but it was decided that the time for PXL had past. The project officially ended in mid 1997.
In hindsight, the PXL camera was revolutionary in it’s time. The technology allowed manufacture of a very low cost easy to use camera. However, the real appeal wasn’t just the cost, but the performance, which only a child and creative adult could truly appreciate. Low resolution, black and white images and strange artifacts when used, were hallmarks of the camera and provided most astonishing results in the hands of the artist. the color PXL was a technical tour de force, but it was also an afterthought.
From this person’s perspective, meeting and interacting with the artists was as much a highpoint as seeing the original product born into the marketplace.
-------------------------
Photography
www.cbimage.com
Film Production
www.diamondmagnascope.com
11.17.2009
Don't know why there's no sun up in the sky, stormy weather
Since my gal and I ain't together, keeps raining all the time
Life is bare, gloom and misery everywhere, stormy weather
Just can't get my poor old self together
I'm weary all the time, the time
So weary all the time
When she went away the blues walked in and they met me
If she stays away, that old rocking chair's gonna get me
All I do is pray the Lord above will let me
Walk in the sun once more
Can't go on, everything I have is gone, stormy weather
Since my gal and I ain't together
Keeps raining all the time
Keeps raining all the time
Can't go on, everything I have is gone, stormy weather
Since my gal and I ain't together
Keeps raining all the time, the time
Keeps raining all the time
Since my gal and I ain't together, keeps raining all the time
Life is bare, gloom and misery everywhere, stormy weather
Just can't get my poor old self together
I'm weary all the time, the time
So weary all the time
When she went away the blues walked in and they met me
If she stays away, that old rocking chair's gonna get me
All I do is pray the Lord above will let me
Walk in the sun once more
Can't go on, everything I have is gone, stormy weather
Since my gal and I ain't together
Keeps raining all the time
Keeps raining all the time
Can't go on, everything I have is gone, stormy weather
Since my gal and I ain't together
Keeps raining all the time, the time
Keeps raining all the time
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