Aw-w-w . . .

From: JEFFREY PAULL (email suppressed)
Date: Wed Mar 03 2010 - 12:06:53 PST


I went to Re: New video from Ethnomite Pux
and Archives said it wasn't available because of content.

Nuts.

  JeffreyP

On Tue 02/02/10 10:39 , jaime cleeland email suppressed sent:
> http://www.archive.org/details/FetishNoiseDriver
> cold sexual imagery. Not intended to be pornography
>
> Comments welcomed
> --- On MON, 1/2/10, JEFFREY PAULL __ wrote:
>
> From: JEFFREY PAULL
> Subject: Thanks for passing ASHOKA my way . . . .
> To: email suppressed
> Date: Monday, 1 February, 2010, 11:35
>
> I'd not heard of it; it's a fine idea, and I passed it along t the
> movie makers I know.
>
> - JP
>
> On Sun 24/01/10 08:40 , jaime cleeland email suppressed sent:
> > ASHOKA IS LOOKING FOR ANEVERYONE A CHANGEMAKER™ FILM, CAN YOU
> HELP?
> > Ashoka, GOOD, andGeniusRocket are partnering to develop a film which
> > visualizesOR captures the sentiment of an Everyone A
> > Changemaker™world, where everyone has the self-permission to
> create
> > positivechange in their community, and where our collective
> > intelligenceand initiative will allow solutions to outrun the
> > challenges weface.
> >
> > We are looking to you, our community of supporters, tocreate a video
> > which makes this Everyone a Changemaker™world accessible.
>
> >
> >
> > Find out more.
> >
> > The Challenge: Create a filmwhich leads up to and closes with the
> > question: “How isthe world different because you are here?”
> >
> > The winning filmmaker will be paid$3,000 for their work.
> >
> >
> > Find out more and please spread theword.
> > --- On SUN, 24/1/10, LEO CARDOSO __ wrote:
> >
> > From: Leo Cardoso
> > Subject: Re: suggestions? : sensory overload
> > To: email suppressed
> > Date: Sunday, 24 January, 2010, 9:10
> >
> > i understand 'sensory overload' in the art context as a specific
> term
> > that may be used simply to define a work that uses audio/visual
> > stimuli to induce body exhaustion/trance/annoyance/daze (depending
> on
> > the context and creator's/receiver's intention). the more immersed
> the
> > body is, the more effective the overload is. part of it is cognitive
> > (data being processed by the brain), part of it is culturally
> situated
> > (consciously-selected data to be processed). this reasoning
> encourages
> > the creator to use more abstract-like sound and visuals, as these
> may
> > concentrate and dissipate the receiver's perception, decreasing
> > predictability and augmenting overload potential. throughout its
> > history, the field of visual music offers interesting cases.
> >
> > Scot Artford's ' Static Room' is a good example of a piece working
> > with sensory overload (especially when watched at the CineChamber,
> > with 10 projected screens surrounding you and insanely loud sound
> that
> > require ear plugs).
> >
> > best,
> >
> > leoC
> >
> > On Thu, Jan 21, 2010 at 6:36 PM, floresgb wrote:
> > Even conventional filmmaking can overload your senses, war (or other
> > topics on violence) documentaries can make you vomit, pornography
> > films can make you come, and amazing films like Night and Fog for
> > example can “transport you” to “spaces” you rather not
> visit.
> > On the other hand not every installation or film projected on a
> > gallery can effectively immerse the audience. 3-D at times looks as
> > flat and fake as a cartoon on a cereal box.
> > Cheers,
> > Beatriz
> > On 1/19/10 2:02 PM, "su b" wrote:
> >
> > Tony,
> > Thanks for the punctuation.
> > I have been wondering about the relevance of gesamtkunstwerk in this
>
> > discussion, and the distinction that probably needs to be made
> > between
> > overload and immersion. 'Cinema' has perhaps moved away from total
> > immersion by retaining a frontal dualistic visual sonic space, (well
>
> > until the corporate rise of '3D', that is). So, is it the gallery
> that
> >
> > has remained the location/home for broader understandings of sensory
>
> > experiences? Films in galleries often retain that sense of
> > illegality... or at least of inhabiting spaces where they
> shouldn't...
> > Su Ballard (Dunedin, Aotearoa, NZ)
> > On 19/01/2010, at 5:40 PM, Tony Conrad wrote:
> >
> > > Please stop!
> > >
> > > This is not a sensible topic.
> > >
> > > "Overload" originates in 1) electronics and 2) mechanics or law,
> and
> >
> > > the usages
> > > in these two areas already contradict one another. An electrical
> > > circuit can be
> > > said to include a "load", and if it's "overloaded" it draws too
> much
> >
> > > power and
> > > burns up. But senses can't meaningfully be "overloaded" in this
> way,
> >
> > > since there
> > > is no power drain associated with the viewer and the film is
> > > certainly not going
> > > to burn up.
> > >
> > > A mechanical system may on the other hand be overloaded if the
> > > strain on it is
> > > too great and the system snaps. Also, in legal terms a vehicle,
> for
> > > instance, may
> > > be over loaded with people or personal possessions: a condition
> > > defined by its
> > > potential for an accident (arising directly or indirectly from the
>
> > > condition),
> > > which is prevented by the police.
> > >
> > > "Sensory overload" is a metaphorical invocation of the viewer's
> > > sensory pathways
> > > as circuits (not as mechanical systems or pickup trucks), but the
> > > metaphor only
> > > works if the term is also understood as implying some kind of
> > > excessive strain
> > > toward a breaking limit, or as tempting accidental and incidental
> > > damage -- with
> > > an implicit sense of illegality.
> > >
> > > This sort of stew -- a confusion of semi-contradictory but in each
>
> > > sense somehow
> > > vivid metaphorical relationships -- is what makes trashy criticism
>
> > > exciting. But
> > > don't try to extract a coherent critical category out of this
> mess.
> > > If you do,
> > > the latent contradictions rapidly infect your discourse, and we
> get
> > > what has
> > > happened here: an "overloaded" discussion of a term that is itself
>
> > > "overloaded,"
> > > where "sensory" overload has turned to "sense" overload.
> > >
> > > --------t0ny
> > >
> > >
> > >
> > > On Mon 01/18/10 5:45 PM , Myron Ort email suppressed sent:
> > >> In 1968, the era of psychedelic light shows at concerts, the
> > >> popularity of underground cinemas showing all kinds of unusual
> > >> experimental films , concerts by John Cage et al, "happenings"
> > >> etc , given that context "Cut Ups" doesn't seem that far out to
>
> > >> me in
> > >> the "overload" sense, however, it is a very good film, perhaps
> > even
> > >> a pioneering film, and one that I certainly would have been
> > excited
> > >> about in 1968 (as I am now), since some us were clamoring for
> that
> > >> kind of thing back then. So I take it, we are maybe searching
> for
> > a
> > >> "term" which might describe such a narratively "non
> > >> linear" approach and this is what you (and others?) are
> > >> designating "sensory
> > >> overload"? Would there not be several other alternatives terms?
> > >> "Overload" has this "I can't take it --too much man! my
> > >> head will explode!" connotation which, I guess, Is what I am
> > >> objecting to. Cut
> > >> Ups, through an approach to montage (collage) breaks up
> > (disjoints)
> > >> otherwise "figurative/narrative/continuous" type recognizable
> > >> shots and reassembles them with a type of "musicality" instead.
>
> > >> Its a
> > >> musical! An experimental film "musical". Is that the term we
> > >> are looking for? ha ha ha. smiley face, etc.
> > >>
> > >> Myron Ort
> > >>
> > >>
> > >> On Jan 18, 2010, at 1:11 PM, Jack Sargeant wrote:
> > >>
> > >>> I'm pretty sure Cut-Ups is on Ubuweb or
> > >> Youtube.>
> > >>> OK, by sensory overload in this instance I mean
> > >> that the film uses > image and sound in such a way as to break
> any
> > >> notion of coherence, > so that, watching it, the audience are
> > >> compelled
> > >> to experience the > film rather than just understand it or
> follow
> > >> it. It resists the > normal sensory satisfactions associated
> with
> > >> film, both the > experiences of hearing and watching are
> > >> transformed, the > combination of linguistic permutations in the
> > >> narration and the (on > first viewing) apparently random images
> > >> means
> > >> that the audience > have to 'go with the film' and experience
> > >> something utterly > unfamiliar.
> > >>>
> > >>> As I said the notion of overload would be
> > >> personal, I have no > problem with Cut-Ups but grew up in an MTV
> > >> riddled world, however > for somebody watching the film in '68
> the
> > >> experience was probably > utterly different.
> > >>>
> > >>> Jack
> > >>>
> > >>>
> > >>>
> > >>>
> > >>> On 19 Jan 2010, at 07:17, Myron Ort
> > >> wrote:>
> > >>>> I was hoping for a "theoretical"
> > >> definition of "sensory overload" >> rather than another example
>
> > >> of a film or
> > >> whatever that I cannot >> easily access. Even watching 77
> minutes
> >
> > >> of
> > >> Sistiaga's handpainted >> @ sound speed with overloud live punk
> > >> music, I wasn't really >> thinking "sensory overload", just
> > >> "unpleasant experience". Even >> multiple screen performances
> > >> don't seem like
> > >> "sensory overload" to >> me, but just what they are supposed to
> > be.
> > >> I was hoping for a >> definition of "sensory overload"
> > >> that wouldn't need to include >> "handpainted" films almost by
> > >> definition. In other words, once I >> accepted the hand painted
> > >> film, or films
> > >> where every frame is >> really (or really really) different it
> > seems
> > >> there can no longer >> be anything called "sensory
> > >> overload". By "handpainted" I mean >> the one's where there is
> > >> not so much
> > >> figurative continuous action >> between frames like animation or
>
> > >> clearly
> > >> comprehensible >> anthropomorphic dancing blobs etc. As
> > >> someone who digs >> "experimental filmmaking" and
> > >> phenomena of nature, (pre and post >> psychedelic) I am not
> sure
> > >> there is such a
> > >> thing as "sensory >> overload".
> > >>>>
> > >>>> Myron Ort
> > >>>>
> > >>>>
> > >>>> On Jan 17, 2010, at 4:14 PM, Jack Sargeant
> > >> wrote:>>
> > >>>>> Although outside the period of the
> > >> original question perhaps >>> Balch & Burroughs' The Cut Ups
> could
> > >> be considered an example of >>> sensory overload.
> > >>>>> But, of course the very notion of
> > >> overload would be a personal >>> experience.
> > >>>>>
> > >>>>> Jack
> > >>>>>
> > >>>>>
> > >>>>> On 5 Dec 2009, at 04:04, Myron Ort
> > >> wrote:>>>
> > >>>>>> Now that I think of it, I don't
> > >> think I have ever experienced >>>> anything I would call
> "sensory
> > >> overload" as pertaining to a film >>>> experience. Could
> someone
> >
> > >> define
> > >> this genre for me. What are >>>> the characteristics?
> > >>>>>>
> > >>>>>> Thanks.
> > >>>>>>
> > >>>>>> Myron Ort
> > >>>>>>
> > >>>>>>
> > >>>>>> On Dec 3, 2009, at 4:05 PM, Mark
> > >> Toscano wrote:>>>>
> > >>>>>>> Howdy all -
> > >>>>>>>
> > >>>>>>> I've been working out a possible
> > >> program (or two) of films that >>>>> demonstrate the idea of
> > >> "sensory overload", and although I have >>>>> a bunch of titles
> in
> >
> > >> mind
> > >> already, I'd love to get more >>>>> suggestions, especially of
> > work
> > >> from the past 10-15 years or >>>>> so. Shorts are preferable,
> as
> > >> it's meant to be a diverse, >>>>> mixed program of numerous
> > >> artists from different eras.>>>>>
> > >>>>>>> thanks much for any suggestions
> > >> ->>>>>
> > >>>>>>> Mark T
> > >>>>>>>
> > >>>>>>>
> > >>>>>>>
> > >>>>>>>
> > >>>>>>>
> > >>>>>>>
> > >>>>>>>
> > >>>>>>>
> > >>
> __________________________________________________________________
> > >> >>>>> For
> > > info on FrameWorks, contact
> > >> Pip Chodorov at om>.>>>>>
> > >>>>>>
> > >>>>>>
> > >>>>>>
> > >>
> __________________________________________________________________
> > >> >>>> For info
> > > on FrameWorks, contact Pip
> > >> Chodorov at om>.>>>
> > >>>>>
> > >>>>>
> > >>
> __________________________________________________________________
> > >> >>> For info
> > > on FrameWorks, contact Pip
> > >> Chodorov at om>.>>>
> > >>>>
> > >>>>
> > >>>>
> > >>
> __________________________________________________________________
> > >> >> For info
> > > on FrameWorks, contact Pip Chodorov
> > >> at om>.>
> > >>>
> > >>>
> > >>
> __________________________________________________________________>
> >
> > >> For info on
> > > FrameWorks, contact Pip Chodorov at
> > >> om>.>
> > >>
> > >>
> > >>
> __________________________________________________________________
> > >> For info on FrameWorks, contact Pip Chodorov at om>.
> > >>
> > >>
> > >>
> > >>
> > >
> > >
> > > __________________________________________________________________
> > > For info on FrameWorks, contact Pip Chodorov at .
> > __________________________________________________________________
> > For info on FrameWorks, contact Pip Chodorov at .
> >
> __________________________________________________________________For
> > info on FrameWorks, contact Pip Chodorov at .
> > --
> > Leo Cardoso
> > Graduate student
> > Butler School of Music
> > University of Texas at Austin
> > email suppressed
> > (512) 216-8205
> > http://leocardoso.org/ [1]
> >
> __________________________________________________________________For
> > info on FrameWorks, contact Pip Chodorov at .
> > __________________________________________________________________
> > For info on FrameWorks, contact Pip Chodorov at .
> >
> >
> >
> __________________________________________________________________
> For info on FrameWorks, contact Pip Chodorov at .
> __________________________________________________________________
> For info on FrameWorks, contact Pip Chodorov at .
>
>
>
> Links:
> ------
> [1] http://leocardoso.org/
>
>

__________________________________________________________________
For info on FrameWorks, contact Pip Chodorov at <email suppressed>.