// David Cronenberg Audiobooks

// Chuck Berry R.I.P.

Gepostet vor 6 Tagen in #Music #R.I.P.

Chuck Berry ist im stolzen Alter von 90 Jahren gestorben.

"Chuck Berry was rock's greatest practitioner, guitarist, and the greatest pure rock & roll writer who ever lived," Bruce Springsteen wrote on Twitter, while Brian Wilson wrote, "I am so sad to hear about Chuck Berry passing - a big inspiration! He will be missed by everyone who loves Rock & Roll. Love & Mercy." Kiss' Paul Stanley called Berry " a cornerstone of all that is, was and will be Rock and Roll," with Lenny Kravitz noting that "none of us would have been here without you."

"Chuck Berry sadly passed away over the weekend," Paul McCartney said in a statement. "He was one of rock & roll's greatest poets. He will be missed but remembered by everyone who ever loved rock & roll."

Von allen Ur-Rock'n'Rollern war mir Chuck Berry der liebste. Der Mann hatte in der Frühphase des Rock'n'Roll zu Beginn der 50er Jahre die E-Gitarre in den Mittelpunkt der Musik gestellt, den weirden Enten-Gang erfunden, den heute so ungefähr alle Gitarristen mindestens einmal im Leben auf der Bühne aufführten und er hatte gleich mit seiner ersten Single „Maybellene“ einen fies stampfenden ersten Rock-Hit am Start. Ein Jahr später eroberte der Rock'n'Roll mit Bill Haleys „Rock around the Clock“ die ganze Welt. Seine Über-Hits „Roll over Beethoven“, „Rock and Roll Music“ und natürlich „Johnny B. Good“ stehen heute noch wie keine anderen Songs der Ära für die Essenz des Rock.

Mach's gut, Chuck, und danke für die ganzen Riffs.

Gib mir den Rest, Baby…

// LPsLPsLPs: Gloriose Bretter für mehr Nasenbluten™

Gepostet vor 15 Tagen in #Music #Album #NC-Tracks

Großartiger Electro-Punk aus Chicago mit jeder Menge Brett: demo by Droids Blood

Geiler Grrrrl-Punk mit fettem Pop-Einschlag aus New York: Mopeless by Heavy Pockets

Fetter Hardcore aus Canada: Machine Response by CAREER SUICIDE

Fettes Geschrammel aus Berlin: LP by PRETTY HURTS

Experimenteller „Weirdo Punk“ aus Chicago: s/t by C.H.E.W.

Fetter Noise-Shoegaze: Jessica93 by Jessica93

Toller Laid-Back Garage-Rock aus Paris: Too Sorry For Any Sorrow by Mountain Bike

Queer Punk aus Texas: POPPER BURNS by Popper Burns

Dicker Thrash aus Texas: Nightmare Logic by Power Trip

Ziemlich verdrehter Experimental-Post-Punk aus Berlin: Mass Transit by RANK / XEROX

Gib mir den Rest, Baby…

// Outrage is Guilt

Hochinteressantes Paper über Empörung und Schuld mit Implikationen für Callout-Culture, Virtue Signaling und Outrage-Memetik. Psychologen haben anhand der Beispiele „Sweatshop“ und „Klimawandel“ festgestellt, dass Menschen sich vor allem dann über Unternehmen für ihre unmoralischen Handlungen (also Sweatshops mit verwerflichen Arbeitsbedingungen in Niedriglohnländern) aufregen, wenn sie selbst auffällige Teilhabe an diesem Prozess haben (also zum Beispiel Nike-Schuhe tragen).

Die Aufregung der Leute diente in diesen Fällen zur Bestätigung ihrer eigenen „moralischen Identität“ und noch wichtiger für DasGeileNeueInternet: Die Gelegenheit, Empörung auszudrücken, führte zu einer Überhöhung der eigenen moralischen Integrität. In anderen Worten: Gib Leuten ein Tool, mit dem man seiner Entrüstung sehr leicht Ausdruck verleihen kann (sagen wir mal, Social Media), und sie werden es garantiert tun, sowohl um ihre Schuldgefühle zu bekämpfen, ihre Identität zu wahren, als auch sich selbst als moralisch integerer zu fühlen.

Die Autoren der Studie legen auch nahe, dass weder die politischeh Überzeugung dabei eine Rolle spielt, noch der persönliche „general Affect“ (dt. etwa „generelles Aufregungspotential“), noch die Haltung zum abgefragten Gegenstand (Globalisierungsgegner, Nike-Hater, Klimaleugner, whatever). Das suggeriert, dass diese Ergebnisse genauso für eher unpolitische Menschen gilt, wie auch etwa für Aktivisten.

Die Wissenschaftler relativieren ihre Ergebnisse in ihrer Konklusion allerdings zum Teil. Zum einen betrifft die „Empörung durch Schuld“ lediglich „einige Manifestationen von moralischer Entrüstung“ – mit „einige“ meinen die Autoren anscheinend „3rd Party Outrage“, also die Empörung über das Leid anderer. Und zum anderen ist selbst schuld-motivierte Empörung letztlich nicht zwingend falsch oder unangebracht (als Beispiel fallen mir spontan etwa Morddrohungen gegen Feministinnen ein). Ich bin mir auch sehr sicher, dass wirtschaftliche Faktoren eine große Rolle spielen im Aufregungs-Netz-Diskurs: Wenn etwa Slate über sexistische Löffelchenstellung schreibt, vermute ich nicht tatsächliche Empörung, sondern schlichtes Clickbait. Der im Paper beschriebene Mechanismus ist dennoch hochinteressant.

Zum Ende deutet das Paper schließlich sogar einen Ausweg zur „Entgiftung“ des derzeitigen Diskurses an, für die alternative und positive Wege zur Aufrechterhaltung einer moralischen Gruppenidentität entwickelt werden sollten: „An acknowledgement of the defensive motives that underlie certain forms of outrage points toward at least one source of strain on clear-headed political discourse. Importantly, this research also gestures toward a corrective: To the extent that individuals and groups can find positive ways of maintaining a moral identity, they may be able to diffuse defensive moral outrage.“ (Ein schönes Argument für meinen Vorschlag, Popkultur als Tool zum Ausdruck dieser Debatten zu nutzen. Aber auf mich hört ja keiner.)

Paper: A cleansing fire: Moral outrage alleviates guilt and buffers threats to one’s moral identity (SciHub is your friend), Zusammenfassung von Reason.com: Moral Outrage Is Self-Serving, Say Psychologists – Perpetually raging about the world's injustices? You're probably overcompensating.

„When people publicly rage about perceived injustices that don't affect them personally, we tend to assume this expression is rooted in altruism—a 'disinterested and selfless concern for the well-being of others'. But new research suggests that professing such third-party concern—what social scientists refer to as 'moral outrage' — is often a function of self-interest, wielded to assuage feelings of personal culpability for societal harms or reinforce (to the self and others) one's own status as a Very Good Person.“

Outrage expressed "on behalf of the victim of [a perceived] moral violation" is often thought of as "a prosocial emotion" rooted in "a desire to restore justice by fighting on behalf of the victimized," explain Bowdoin psychology professor Zachary Rothschild and University of Southern Mississippi psychology professor Lucas A. Keefer in the latest edition of Motivation and Emotion. Yet this conventional construction—moral outrage as the purview of the especially righteous—is "called into question" by research on guilt, they say.

Feelings of guilt are a direct threat to one's sense that they are a moral person and, accordingly, research on guilt finds that this emotion elicits strategies aimed at alleviating guilt that do not always involve undoing one's actions. Furthermore, research shows that individuals respond to reminders of their group's moral culpability with feelings of outrage at third-party harm-doing. These findings suggest that feelings of moral outrage, long thought to be grounded solely in concerns with maintaining justice, may sometimes reflect efforts to maintain a moral identity. […]

Here's the gist of Rothschild and Keefer's findings:

1. Triggering feelings of personal culpability for a problem increases moral outrage at a third-party target. For instance, respondents who read that Americans are the biggest consumer drivers of climate change "reported significantly higher levels of outrage at the environmental destruction" caused by "multinational oil corporations" than did the respondents who read that Chinese consumers were most to blame.

2. The more guilt over one's own potential complicity, the more desire "to punish a third-party through increased moral outrage at that target." For instance, participants in study one read about sweatshop labor exploitation, rated their own identification with common consumer practices that allegedly contribute, then rated their level of anger at "international corporations" who perpetuate the exploitative system and desire to punish these entities. The results showed that increased guilt "predicted increased punitiveness toward a third-party harm-doer due to increased moral outrage at the target."

3. Having the opportunity to express outrage at a third-party decreased guilt in people threatened through "ingroup immorality." Study participants who read that Americans were the biggest drivers of man-made climate change showed significantly higher guilt scores than those who read the blame-China article when they weren't given an opportunity to express anger at or assign blame to a third-party. However, having this opportunity to rage against hypothetical corporations led respondents who read the blame-America story to express significantly lower levels of guilt than the China group. Respondents who read that Chinese consumers were to blame had similar guilt levels regardless of whether they had the opportunity to express moral outrage.

4. "The opportunity to express moral outrage at corporate harm-doers" inflated participants perception of personal morality. Asked to rate their own moral character after reading the article blaming Americans for climate change, respondents saw themselves as having "significantly lower personal moral character" than those who read the blame-China article—that is, when they weren't given an out in the form of third-party blame. Respondents in the America-shaming group wound up with similar levels of moral pride as the China control group when they were first asked to rate the level of blame deserved by various corporate actors and their personal level of anger at these groups. In both this and a similar study using the labor-exploitation article, "the opportunity to express moral outrage at corporate harm-doing (vs. not) led to significantly higher personal moral character ratings," the authors found.

5. Guilt-induced moral outrage was lessened when people could assert their goodness through alternative means, "even in an unrelated context." Study five used the labor exploitation article, asked all participants questions to assess their level of "collective guilt" (i.e., "feelings of guilt for the harm caused by one's own group") about the situation, then gave them an article about horrific conditions at Apple product factories. After that, a control group was given a neutral exercise, while others were asked to briefly describe what made them a good and decent person; both exercises were followed by an assessment of empathy and moral outrage. The researchers found that for those with high collective-guilt levels, having the chance to assert their moral goodness first led to less moral outrage at corporations. But when the high-collective-guilt folks were given the neutral exercise and couldn't assert they were good people, they wound up with more moral outrage at third parties. Meanwhile, for those low in collective guilt, affirming their own moral goodness first led to marginally more moral outrage at corporations.

These findings held true even accounting for things such as respondents political ideology, general affect, and background feelings about the issues.

Ultimately, the results of Rothschild and Keefer's five studies were "consistent with recent research showing that outgroup-directed moral outrage can be elicited in response to perceived threats to the ingroup's moral status," write the authors. The findings also suggest that "outrage driven by moral identity concerns serves to compensate for the threat of personal or collective immorality" and the cognitive dissonance that it might elicit, and expose a "link between guilt and self-serving expressions of outrage that reflect a kind of 'moral hypocrisy,' or at least a non-moral form of anger with a moral facade."

// Trailerfest: Atomic Blonde, Like Me, Alien: Covenant, Small Crime, The Most Hated Woman In America, Win It All, Busters Mal Heart, Pirates of the Caribbean 5

Gepostet vor 16 Tagen in #Movies #Trailer

Schöner Trailer zum Social-Media-Thriller Like Me. Der Film hat auf dem SXSW-Festival Premiere und sieht mir nach dem bislang besten Thriller in dem Setting aus (wobei Nerve mit Emma Roberts durchaus anständig war) und aus einer Szene im Trailer kann man das sehr nette GIF rechts basteln (hier in groß auf Giphy).

Außerdem neue Clips zum Charlize-Theron-Actioner Atomic Blonde, den Netflix-Dingern Small Crime, The Most Hated Woman In America und Win It All, zu Buster's Mal Heart mit Rami „Mr. Robot“ Malek total ungewöhnlich in einer Rolle als Weirdo (</Sarcasm>), ein Viral zu Alien: Covenant mit Robot-Walter (ich hab damit nix zu tun außer Photoshop), sowie einem japanischen Trailer zu Pirates of the Caribbean 5.

Like Me

After posting a video of herself robbing a convenience store, Kiya (Addison Timlin) amasses a huge social media following. A reckless loner, she seeks some form of genuine human connection. Through her travels, she encounters a drifter, an Internet troll and a paint huffing outsider who are all pulled into her circle of chaos, junk food, and drugs. In a world of fabricated personalities, Kiya is intent on exposing something gutturally truthful about humanity, but ultimately, she must confront herself.

Newsbits:

  • One more time: Terry Gilliam Has Begun Shooting ‘The Man Who Killed Don Quixote,’ For Real This Time: „A source close to the production confirmed to IndieWire that shooting began this week. There’s also the first photos from the set in the form of two Instagram posts, one from actress Rossy de Palma (who was to be part of the movie’s original production in 2000) and one from makeup artist Sylvie Imbert. De Palma’s post, dated Feb. 27, is a photo of the cover of the film’s screenplay captioned, 'FinallyHereWeAre'. Imbert’s post, dated March 6, shows her poring over a production grid for the film and is captioned, 'Final touches last night'.“

Gib mir den Rest, Baby…

// The Internet Warriors

Sehr interessante Mini-Doku von Kyrre Lien, der drei Jahre lang Hater aus Comment-Sections zuhause besucht, befragt und fotografiert hat. Das Buch kann man hier bestellen, hier die Website zum Projekt.

Und for the record: Der Guardian titelt Inside the dark world of online 'trolls'. Dazu muss man festhalten, dass die meisten dieser Leute keine „Trolle“ sind, sondern das, was zum Beispiel Ingrid Brodnig in ihrem Buch Hass im Netz als Glaubenskrieger bezeichnet. Die sind verwandt, aber nicht identisch, und die Unterscheidung ist wichtig. Sollten die Experten vom Guardian eigentlich wissen.

Who are the people that get so angry online? Why do so many of them choose to harass people, threaten people, and stretch the freedom of speech to its limits? More than a third of us participate in online debates, according to research done by Pew Research Centre. During the last three years, documentarist Kyrre Lien, have traveled across the globe to meet The Internet Warriors across the world. From the fjords in Norway, to the U.S. desert, a boat in Denmark and an apartment in Lebanon.

Tens of thousands of comments have been read to narrow it down to the group now presented as a documentary, book and exhibition. Some of the ones portrayed are some of the most active debaters the Internet has to offer. The selection of people tries to be representative of the people who debate and is based on demographic statistics from the book “Likes – dislikes”, as well as research done by Pew Research Centre.

He has met the men who generally are a bit older and turn the comments section into a masculine arena, and the women, who more often choose Facebook – a much younger arena. Research also shows that the ones who are very active in debates online are somewhat more critical to immigration and trust the government less than others. Meet The Internet Warriors – in their own cave.

Der Guardian hat ein paar der Bilder und die Storys hinter den Leuten, der Typ auf dem Bild ganz oben ist Robert und der würde gerne Tony Blair aufhängen, weil er ein „traitor to his people“ ist, also ein „Volksverräter“, was ja auch bei uns ein gerne gebrachter „Vorwurf“ der AFD-Ottos ist:

Robert Jackson spends hours every day commenting online. Recently he wrote that Tony Blair should be hanged. “I stand by that,” he says. “I’d gladly put the rope around his neck. He’s a traitor to his people.”

Jackson’s primary concern is immigration: he believes Britain will “fall apart” under the weight of refugees. “I really don’t care where they are from, or which war they are fleeing.” What makes it worse, he says, and the reason he is particularly angry at the government, is that it cost him so much to bring over his Thai wife. “I had to pay thousands to get my wife here from Thailand. Her visa only lasts for six months, and then she has to go back. And then we have to do the same thing all over again.”

// David Bowies Space Oddity data-visualized on 12-Inch-Records

Ganz großartiges Projekt von Info-Designerin Valentina D’Efilipp und der Daten-Journalistin Miriam Quick, eine „visuelle Dekonstruktion“ von David Bowies Space Oddity auf einer Serie von 10 gravierten 12-Inch-Platten aus Acryl, natürlich inklusive Prints und Schnickschnack. Jede Visualisierungen zeigt einen anderen Aspekt des Songs von Melodie, Instrumentierung und Harmonie bis hin zu Struktur, Rythmus und Narration der Lyrics. Bislang sind 7 von 10 der Platten fertig, die gesammelten Daten zu Space Oddity sind in einem Google Spreadsheet einsehbar.

Each record deconstructs the track in a different way. The 10 records are like 10 different angles on the same song, each illuminating a different aspect of it but all using the same format: one rotation of the record equals the length of the song. The first record visualises our interpretation of the story told by the song: 1 Narrative. Then four records visualise aspects of the music: 2 Recording 3 Texture 4 Rhythm 5 Harmony. The next four records visualise aspects of the vocal line: 6 Structure 7 Melody 8 Lyrics 9 Trip. The final record, 10 Emotions, is a bit different. It visualises the emotional responses people had while listening to Space Oddity.

Hier die Legende für die Visualisierung des Narrativs auf der ersten Platte:

Major Tom’s trajectory away from Earth – past 100,000 miles and into the depths of space – appears as a spiral emanating out from the centre label of the record. Here, Major Tom literally spirals out of control (or, drawing on the psychedelic resonances of the song, into the abyss; a spiral motif appears in the middle of this and all the other records in the series).

Only the black portions of the record encode information. White sections of the spiral show the parts where Bowie sings (the vocal introduction, verses, choruses and vocal bridge) and shaded sections show the instrumental passages. The position of the white sections shows which character we believe is singing at that point in the song – Ground Control is stationed on Earth, next to the centre label, while Major Tom is on the spiral, moving further and further away. Lines emanating from the white sections show the transmissions – the points where the two characters repeatedly call each other over the radio system: ‘Ground Control to Major Tom’, ‘This is Major Tom to Ground Control’.
The initial shaded portions of the spiral, showing instrumental sections (liftoff and first guitar solo), follow the position of both characters. After the vocal bridge, when we realise the two characters can no longer communicate with one another (‘Can you hear me Major Tom?), the shaded sections relating to the second break, second guitar solo and outro follow Major Tom only. That is, the music acts as a bridge or connection between the two characters until the point where the line of communication is broken, and they no longer inhabit the same emotional universe.

In this way, the conversational nature of the song, the relative location of the two characters and their ability to communicate is embedded in the design of the record.

Gib mir den Rest, Baby…

// Trailerfest: Game of Thrones, The Handmaidens Tale, The Get Down, Free Fire, The Fate of the Furious, XX, Seoul Station, I Olga Hepnarova, Mon Mon Mon Monsters

Gepostet vor 17 Tagen in #Movies #Trailer

HBO haben einen ersten Teaser zur nächsten Game of Thrones-Staffel veröffentlicht, zusammen mit dem Airdate am 16. 7. 2017.

Außerdem neue Trailer zur Serien-Adaption von Margaret Atwoods The Handmaid's Tale, zur zweiten Staffel von Baz Luhrmanns 70s-HipHop-Serie The Get Down, zu Ben Wheatleys Action-Comedy Free Fire, jede Menge Auto-Kaboom in The Fate of the Furious, zur Horror-Anthologie XX, ein UK-Trailer zum Train to Busan-Prequel Seoul Station (hatte ich auf dem FFF gesehen, war okay), zum Arthouse-Lesben-Drama I, Olga Hepnarova, sowie zum taiwanesischen Horrorschlock Mon Mon Mon Monsters.

Game of Thrones Season 7

Newsbits:

  • Akira Kurosawa’s Shelved Script ‘The Mask of the Black Death’ to Be Produced in China: „Akira Kurosawa’s shelved script 'The Mask of the Black Death' will finally hit the big screen. Chinese studios Huayi Brothers ('Dragon Blade,' 'Mojin: The Lost Legend') and CKF Pictures ('Chongqing Hot Pot,' 'Mojin: The Lost Legend') will produce the film based on the late Japanese filmmaker’s screenplay. […] The legendary filmmaker wrote the script for 'The Mask of the Black Death' based on Edgar Allen Poe’s short story 'The Masque of the Red Death.' He started penning the film right after his 1975’s 'Dersu Uzala.' Originally, the project was supposed to be filmed in 1998, but was shelved after Kurosawa suffered a stroke, and later died that same year.

    According to Cinephilia Beyond, just like in 'Dersu Uzala,' 'The Mask of the Black Death' takes place in Russia. As humanity faces the threat of a deadly disease at the beginning of the 20th century, the country’s prince hides inside his palace, ignoring the hardships and suffering of his people. 'The Mask of the Black Death' is expected to hit theaters in 2020.“

  • Star Wars: The Last Jedi Footage Description

Gib mir den Rest, Baby…

// Black Sabbath are done.

Gepostet vor 17 Tagen in #Music #Bands #Metal #OzzyOsbourne

Black Sabbath haben bereits am Dienstag auf Facebook nach 49 Jahren ihr endgültiges Ende bekanntgegeben. Das letzte Studioalbum hatten sie 2013 veröffentlicht, Im Februar hatten sie ihren letzten Auftritt in ihrer Heimatstadt Birmingham. Die Erfinder des Metal are no more, aber auch für Ozzy und Iommi und Geezer und Ward gilt natürlich: The Gods of Metal never die. R.I.P. 🤘

That note puts the final nail in the coffin of a 49-year long career. Crazed frontman Ozzy Osbourne, guitarist Tony Iommi, bassist Geezer Butler, and drummer Bill Ward launched their legendary career with their self-titled debut in 1970. They went through numerous lineup changes until 2006, when they disbanded for the first time. The original quartet got back together in 2011, but Ward pulled out of the reunion tour and was replaced by Tommy Clufetos.

Over the span of their time together, Black Sabbath released 19 studio albums, including Paranoid, Master of Reality, and Vol 4. Songs from many of their records were highlighted on their final End of the Road Tour, and they fittingly closed out their career with a performance of “Paranoid”.

Hier ihr letzter Song – „Paranoid“ – vom letzten Konzert und ein paar weitere Meilensteine:

Gib mir den Rest, Baby…

// Chatbot-Anwalt hilft bei Asyl-Anträgen

Gepostet vor 17 Tagen in #Tech #Bots #Legal #Refugees

Im vergangenen Sommer programmierte ein 19jähriger Stanford-Student einen Chatbot-Anwalt, mit dessen Hilfe rund 250.000 Strafzettel angefochten wurden, wovon nicht weniger als 160.000 Verfahren gewonnen wurden. Nun hat er dem Bot beigebracht, wie Flüchtende an den Grenzen von England, Kanada und den USA am besten ihre Asyl-Anträge stellen. Dazu hat er mit Anwälten in allen drei Ländern und mit erfolgreichen Asylbewerbern gesprochen, um die Funktionalität zu optimieren.

The chatbot works by asking the user a series of questions, in order to determine which application the refugee needs to fill out and whether a refugee is eligible for asylum protection under international law.

After this, it takes down the necessary details required for the appropriate asylum application – an I-589 for the United States or a Canadian Asylum Application for Canada. Those in the UK are told they need to apply in person, and the bot helps fill out an ASF1 form for asylum support. Browder says it was crucial the questions were in plain English. “The language in these forms can be quite complicated,” he said.

These details are used to auto-fill an application form for either the US, Canada or the UK. “Once the form is sent off, the details are deleted from my end,” said Browder. The 20-year-old chose Facebook Messenger as a home for the latest incarnation of his robot lawyer because of accessibility. “It works with almost every device, making it accessible to over a billion people,” he said.

// Pink Floyds The Wall-Paintings for sale

Gepostet vor 17 Tagen in #Design #Movies #Music #Album #Illustration

In San Francisco kommen demnächst die Original-Gemälde rund um Pink Floyds The Wall unter den Hammer. Neben den Gemälden, die spätestens durch den Film weltbekannt wurden, versteigern sie auch ein riesiges, zweieinhalb Meter breites Storyboard. Und in New York kann man ihr Mischpult kaufen, das sie zur Aufnahme von Dark Side of the Moon benutzten, interessiert mich aber nur so mittel. Für die Malereien vom Lehrer, des Schreis und „The Gross Inflatable Pig“ wäre ich ja zu haben, wird aber teuer.

Epic in scale and steeped in Rock history, these original works of art are marquis collectibles for major individual, corporate and institutional collectors. Due to the extensive distribution of the imagery via album, live-performances, music-videos, and the film (along with the accompanying publicity), the artwork offered is among the most instantly recognizable and significant in pop culture. […]

The paintings now being offered have been carefully selected by the artist, Gerald Scarfe as his most important works, and include several of the most famous images in Rock history due to their association with The Wall. Iconic artworks such as The Scream, Giant Judge & Hammers (shown below), The Mother, and The Teacher are available, along with several other blockbuster pieces including the massive original storyboard created for the film which incorporates 50 original renderings (measuring overall, a whopping 8' x 3').

Gib mir den Rest, Baby…

// Trailerfest: Sam Was Here, Geostorm, Black Code, Siam Square, Galaxy of Horrors, All Eyez On Me, The Transfiguration

Gepostet vor 18 Tagen in #Movies #Trailer

Neue Trailer zum Survival-Horror Sam Was Here, zum Katastrophen-Trash Geostorm, zur Internet-Überwachungs-Doku Black Code, dem Thai-Horror Siam Square, zur Vampir-Story The Transfiguration, zur Horror-Anthologie Galaxy of Horrors sowie ein neuer Trailer zum Tupac-Biopic All Eyez On Me.

Sam Was Here

Sam, a door-to-door salesman, travels through the desert in search of clients, yet the area seems deserted. And his wife won't answer his phone calls. It's as if everyone was avoiding him. His only contact with the outside world is a local radio station. The host, a strange man by the name of eddy, takes calls regarding a child killer at large, and pushes listeners to hunt the man to death. That's when Sam realizes everyone thinks he's the killer..

Newsbits:

  • Sure, will watch: Netflix is producing a zombie show set in medieval Korea: „the show comes from director Kim Seong-hun, and it will be about a prince going on a quest to 'investigate a mysterious outbreak that leads him to a brutal truth that threatens the kingdom.' […] Kingdom will premiere on Netflix around the world in 2018.“
  • Der nächste Film von Macon Blair (der grade erst den wirklich guten I Don't Feel At Home In This World Anymore für Netflix drehte) klingt schon wieder sehr groß und The Shitheads ist halt auch ein Titel zu 'nem Film, der garantiert auf meiner Must-Watch-Liste landet: „Tracy Morgan and Luke Wilson will star in Imperative Entertainment’s comedic road movie The Shitheads […] The film, which Deadline is describing as 'The Last Detail by way of Bret Easton Ellis', concerns a pair of deeply unqualified bozos who’ve been hired to transport a troubled teenage millionaire to rehab.“
  • Lars von Triers The House that Jack built, Synopsis: „THE HOUSE THAT JACK BUILT takes place in 1970s USA. We follow the highly intelligent Jack through 5 incidents and are introduced to the murders that define Jack’s development as a serial killer. We experience the story from Jack’s point of view. He views each murder as an artwork in itself, even though his dysfunction gives him problems in the outside world. Despite the fact that the final and inevitable police intervention is drawing ever near (which both provokes and puts pressure on Jack) he is – contrary to all logic – set on taking greater and greater chances. Along the way we experience Jack’s descriptions of his personal condition, problems and thoughts through a recurring conversation with the unknown Verge – a grotesque mixture of sophistry mixed with an almost childlike self-pity and in-depth explanations of, for Jack, dangerous and difficult manoeuvres.“
  • Nochma Jack: Uma Thurman & Siobhan Fallon Hogan Join Lars Von Trier’s ‘The House That Jack Built’

Gib mir den Rest, Baby…

// David Foster Wallace' „Unendlicher Spaß“ als 80stündiges Hörspiel

Vor genau 1 Jahr minus 1 Tag hatte ich über das Mammut-Projekt Unendliches Spiel vom WDR gebloggt, ein Hörspiel von Andreas Ammer, Andreas Gerth und Martin „Acid Pauli“ Gretschmann, die David Foster Wallace' eklektisches Drogen/Tennis/WTF-Epos „Unendlicher Spaß“ mit nicht weniger als 1400 Stimmen als das „größte Hörspiel aller Zeiten“ umsetzten, das laut WDR genau 3 Tage, 6 Stunden, 48 Minuten, 45 Sekunden oder auch 78 Stunden und 49 Minuten beziehungsweise über 13000 Minuten lang ist. Und als wäre das noch nicht super genug, konstruierten sie für den Soundtrack eine goldene Maschine, die nun ein Jahr lang ununterbrochen Live-Musik im Museum K20 in Düsseldorf produzierte.

Jetzt sind alle Seiten fertig aufgenommen, produziert und geschnitten und das Hörspiel kann hier in insgesamt 189 MP3-Files runtergeladen werden, hier der direkte Link zum ZIP mit allen Dateien (Vorsicht, drölfzigtausend Gigabyte).

BR2s Hör!spiel!art.mix hatte neulich ein Interview mit Hörspielmacher Andreas Ammer (MP3 hier) und mit WDR3 Hörspiel-Redakteurin Christina Hänsel (MP3 hier).

Ich habe mir erlaubt, das erste Kapitel aka die erste halbe Stunde in meine Soundcloud hochzuladen. Sollte der WDR demnächst eine gekürzte Version mit ein paar Stunden anbieten, erfahrt ihr es hier als erstes – und wenn er es nicht tut, werde ich die MP3-Files höchstpersönlich in ein gigantisches File zusammenbacken und irgendwo bunkern, ich sag dann Bescheid. Und nicht zu vergessen: Das ist alles schon sehr, sehr geil.

Im März 2016 hatte das Kulturradio seine Hörerinnen und Hörer zum Mitmachen aufgerufen. Die Resonanz war enorm: Innerhalb von nur 70 Tagen waren alle 1.400 Seiten des Romans „Unendlicher Spaß“ von David Foster Wallace eingelesen. Die Bandbreite der Stimmen ist immens: Männer, Frauen, jung, alt, erprobt, unverbraucht. Gemeinsam haben sie dieses Hörspielmammutprojekt entstehen lassen.

„Eine solch große Beteiligung an einem anspruchsvollen Mitmachprojekt des Genres Hörspiel haben wir nicht erwartet. Wir freuen uns sehr, dass dieses vielstimmige Kultur-Projekt nicht nur zum „größten Hörspiel aller Zeiten“ geworden ist, sondern tatsächlich auch zu einem akustisch reizvollen „unendlichen“ Hör-Spaß“, sagt WDR 3 Programmchef Prof. Karl Karst.

Die vom Publikum interpretierten Seiten wurden um die Fußnoten des Übersetzers Ulrich Blumenbach ergänzt und von den Künstlern Andreas Ammer, Andreas Gerth und Acid Pauli zu einer Symphonie aus unterschiedlichsten Stimmen und sich ständig erneuernden Klängen verwoben.

(Bild oben von Corrie Baldaufs Infinite Jest-Project)

// Bronze Girl stares down Wall Street Bull

Gepostet vor 18 Tagen in #Design #Politics #Economy #Feminism #Sculpture

Eigentlich toll: Vor dem Stier an der Wall Street steht heute zum Weltfrauentag die Bronzestatue eines „Fearless Girl“, dass sich dem Kapitalismus-Repräsentations-Viech in den Weg stellt und die Bankster an Gender Diversity im Management erinnern soll. Schade: Die Aktion kommt von der Investment-Firma State Street Global Advisors, die 1.) auch nur Bankster sind und 2.) ebenfalls nur einen Frauen-Anteil von 17,85% im Leadership-Team haben. Immerhin ein paar mehr Prozent als der Durchschnitt und das ganze ist dann doch eher eine Feelgood-Aktion für's Gewissen, aber die Metapher ist dennoch nett. (via Ronny)

The stunt, timed to International Women’s Day on Wednesday, is meant to symbolize the power of women in leadership. More specifically, it’s part of a campaign by SSGA to emphasize that companies with women in top positions perform better financially.

The sculpture, titled “The Fearless Girl,” was made by Kristen Visbal and photographed by Federica Valabrega. The guerrilla aspect of the placement is in keeping with the Charging Bull itself, which was installed without permission by artist Arturo Di Modica in 1989. It was meant to be a symbol of the strength and power of the American people following the stock-market crash of 1987. Residents fell in love with it, and the city allowed it to remain.

Gib mir den Rest, Baby…

// Feministische Guerilla-Projektionen gegen AfD und Trump

Gepostet vor 18 Tagen in #Politics #Feminism #Protest

Das feministische Kollektiv Team Vulvarella hat zum Weltfrauentag den Slogan „Keep Your Agenda Out Of My Vagina“ auf die Parteizentrale der AfD und die US-Botschaft projiziert. Schöne Aktion, toller Mittelfinger und herzlichen Glückwunsch zum Weltfrauentag.

Die AfD in Deutschland vertritt konservative und reaktionäre Frauenbilder und forderte zB. jüngst gesetzlich verankerte „umfangreiche Maßnahmen zur Hebung der Geburtenrate“. Der Kampf gegen Gleichstellung ist fester Bestandteil ihrer Politik. Diese überholte, unzeitgemäße Ideologie widerspricht unserem Bild von Freiheit und Selbstbestimmung.

Auch die salonfähig gewordene Frauenfeindlichkeit der aktuellen US-Regierung und des Präsidenten, sind ein nicht zu tolerierender Affront gegen die Gleichheit der Geschlechter und die Errungenschaften der Frauenrechtsbewegung. Das zeigt unter anderem die von den Republikanern in den USA reinstituierte und verschärfte Mexico Policy (Gag Rule), die Gesundheitsorganisationen weltweit daran hindert, Beratung zur Familienplanung anzubieten, und somit in drastischem Umfang direkt in das Leben von Frauen* und Mädchen* eingreift.

Wenn man ohnehin mit einem Beamer vor der US Botschaft steht, sollte das am 6.3. überarbeitete Dekret zu Einreiseverboten in die USA, welches sich gegen die Freizügigkeit und Gleicheit aller Menschen richtet, nicht unerwähnt bleiben. So zeigen wir auch hier einen expliziten Mittelfinger: “…and fuck your travel ban!!!”.

Und so ganz nebenbei, falls jemand auf die Idee kommen sollte, hier ein Bild von „Lead software engineer of the Apollo Project [who] stands next to printout of tweets asking when's International Men's Day“: Gib mir den Rest, Baby…

// Electronic Music generated with Blood

Gepostet vor 18 Tagen in #Design #Art #Blood #Synth

Hübsche Installation von Dmitry Morozov, der einen Synth und den algorithmischen Klangerzeuger darin mit Batterien betreibt, die mit seinem eigenen Blut aufgeladen werden. Blut-Techno, unterfüttert mit Science Fiction und russischer Philosophie aus dem beginnenden 20. Jahrhundert (russischer Kosmismus): „In his science fiction novel Red Star, published in 1908, Bogdanov first described his ideas about the possibility of achieving immortality and eternal youth through blood transfusion. He was not only a physician and scientist but also a philosopher and communist ideologue. He actually put his studies into practice, verging on occultism; his practices were more closely related to Soviet mysticism than to medicine. In many respects my installation is a similar metaphysical act, but between man and machine rather than between human beings.“ (via Prosthetic Knowledge)

This installation operates on unique batteries that generate electricity using my blood. The electric current produced by the batteries powers a small electronic algorithmic synth module. This module creates generative sound composition that plays via a small speaker. The blood used in the installation was stored up gradually over 18 months. The conservation included a number of manipulations to preserve the blood’s chemical composition, color, homogeneity and sterility to avoid bacterial contamination. The total amount of blood conserved was around 4.5 liters; it was then diluted to yield 7 liters, the amount required for the installation. The blood was diluted with distilled water and preservatives such as sodium citrate, antibiotics, antifungal agents, glucose, glycerol etc. The last portion of blood (200ml) was drawn from my arm during the performance presentation, shortly before the launch of the installation.

The operation concept of the installation is to use liquid electrolyte and metals with different oxidation rates as a power sources. Such metals as copper (anode) and aluminum (cathode) were used, and the blood contains enough minerals (Na+, K+, Mg2+, Ca2+ HCO3-, Cl-, PO43-, SO42-) to serve as an electrolyte. This approach restages experiments to create a direct-current battery, e.g. the experiments of Luigi Galvani, who mistakenly discovered animal electricity, and Alessandro Volta’s famous Voltaic pile, which became the prototype of all modern electric batteries. In many respects the visual design of the installation was inspired by nineteenth-century engravings of experiments with electricity and batteries.