Category Archives: culture

Kraftwerk – Computer World

And WE’RE BACK!!! New layout…still kinda in the works. But let’s get back to bizness!! The classic album from electronic guru’s, Kraftwerk, just got the Remastered treatment and it sounds oooohhhh sooooo good. It was their eight studio album and was heavily influenced by the effect of advanced technologies within society. “Computer World” is an unforgettable electronic vision of the digital age. Essential…


1. Computer World
2. Pocket Calculator
3. Numbers Listen
4. Computer World, Pt. 2
5. Computer Love
6. Home Computer
7. It’s More Fun to Compute

And here’s bits of a very insightful documentary on the German electronic movement…

go to Youtube to watch the rest

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People who live in Oakland know that all the cool happening stuff on New Years is always in SF, this year we are trying to switch it up and make it pop in the town! Bobby Peru from thizz.face.disco is teaming up with Kickitforlife, LE HEAT, and Pretty Boy Blue to bring you a massive line up of bands, dj’s, and electronic artist to blow your mind and teleport you to the the new year!

The countdown has begun!

bands in one room djs in the other…


MIGGY STARDUST (hoodstock, neon aztlan)


DOSE ONE, JEL AND JORDAN DALRYMPLE (anticon, themsevles, subtle)




..:DJ ROOM:..


BOBBY PERU (booze-wazi, fool’s paradise radio)

HANDSOME NETO (hoodstock, neon aztlan, karate brothers)

PONY LOCO (neon aztlan, hoodstock)

Seriously It’s going down this new years eve!
come thru and party with us at the metro.
18 and up

rsvp on Facebook or let me know if you want presales!

Stan Brakhage

Excerpt from “Make Place for the Artist” by Stan Brakhage

I am presenting it in writing for someone else’s future. Someone may someday realize that the living artist has the eyes of the age he lives in. They may understand that he makes his magic for the moment. Who knows? Here’s what to do:
Make place for the artist. Do it now. For you, as well as him, tomorrow is too late. Firs must come understanding, not of the work but of the worker. Give him the right conditions. Here are the conditions. This breed requires freedom. Cages kill him. Restrictions constrict. This animal is forever at war with his own limitations by nature. The rules others try to impose usually only baffle and, finally, either destroy or else disinherit him.
The artist must be given more than enough rope. He often hangs, himself for experience, however this creature has a tough neck, give him time! He is perhaps more aware of time than any other type of individual. He is an explorer of his own dualities. He embarks on as many adventures as there are in a day. These are the components of his witch brew.
It takes time, also, to stir up a magic potion. Information for opportunists – the best way to get something from an artist is to leave him alone. Contradiction is part of the honesty he exercises. It is impossible for any man to express without contradicting himself every other statement and be anything but a liar, unless he is playing a part. The artist play his part best apart…..Make place for the artist. He must never be used as a material. Those who try to hold fire either burn their hands or put the fire out.
This is a hair of a dog, given with love and expectation.

If you don’t know who Stan Brakhage is….you should. He was an American filmmaker who helped push 20th century Experimental Film to new heights. He made over a hundred films and went through so many different style periods, exploring a variety of formats, approaches and techniques that included handheld camerawork, painting directly onto celluloid, fast cutting, in-camera editing, scratching on film, and the use of multiple exposures. He also wrote many essays and letters on many topics such as art, mythology, music, poetry, war, birth, mortality, and sexuality, all of which are included in his film works as well. Definitely worth seeking out….his films are unlike anything you have ever seen.

Here is an excerpt from Brakhage Scrapbook: Collected Writings 1964-1980

To Manis Pinkwater: Day before Thanksgiving, ’64

An artist MUST act on dream instruction (day AND nigh dream structures conditioning all his being) for continuance of his art. Some have called this “inspiration,” some “the word of God,” some (more modernly) “sub-conscious feed-back” or what-you-call-it – there IS a process which governs the arts, necessities of each medium which discipline the artist’s living making it impossible for him to exist in an avoidance fo the right, the rite: and it is very encouraging, AND ABSOLUTELY NECESSARY for the movement of works of art into the world at large (not to mention proper celebration of birthdays), that there be others who permit instruction, always dream structured, and act of their given sense of right, thus participate in the rite, in whatever way their form of living enables them. “Art for art’s sake” is a term imposed on the, otherwise, opening field of the arts BY a negligent or INdifferent society, a seige, as it were, which does force an, otherwise ever opening, field into becoming a fortress of “ivory towers,” etc., and/or (more modernly) a game preserve, wherein the forces of nature may play withIN strictly boundaries imposed by most unnatural game wardens, a place where natural forces are appreciated (as if one could applaud the universe) rather than experienced.

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Black Orpheus Soundtrack

I must say…This is quite possibly the GREATEST soundtrack ever created! In 1959, French director Marcel Camus delighted the world with Black Orpheus, which is based on the play Orfeu da Conceição by Vinicius de Moraes, which is an adaptation of the Greek legend of Orpheus and Eurydice. Camus put a modern twist on the myth by setting the film in Rio De Janeiro during Carnaval, and by letting the great Brazilian composers’ Antônio Carlos Jobim and Luiz Bonfá craft this masterpiece of a soundtrack. The film is pretty much….magic. The imagery, the characters, and the music all radiate harmonious vibes. Orfeu even makes the sun rise when he plays his guitar…that’s what the kids say


1. Generique
2. A Felicidade
3. Frevo
4. O Nosso Amor
5. O Nosso Amor
6. Manha De Carnaval
7. Scene Du Lever Du Soleil
8. Manha De Carnaval
9. Scenes De La Macumba
10. O Nosso Amor
11. Manha De Carnaval
12. Samba De Orfeo
13. Batterie De Cappela
14. Bola Sete Medley: Manha De Carnaval/A Felicidade/Samba De Orfeo

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Fool’s Paradise Radio w/ guest Black Diamonds Shining

It’s been a while since we’ve uploaded a Fool’s Paradise podcast…we stopped recording after the computer was replaced because every time we recorded it mad this weird clipping noise, almost as if there is a gate on it.

But this week we had a special guest from BDS Ras Terms, Dead Eyes, and Safety First on the show so we decided to record it. They came thru and chatted it up with us, we touched on opening our minds, legalizing weed, art’s role in the community, and up coming events.

Of course we had the usual variety of dope tunes, Eloi even brought some of his vinyl selection to spice things up…


Sorry for the LoFi gritty-ness of this recording and the clipping noise… it’s PIRATE RADIO! Shortwave transmissions..

you can stream it by clicking…


leave a comment if you want the download link.

Here are some pieces by the artist……..!

Here is a video of Ras Terms…
Safety First

purchase something..

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Tarnac 9 & the coming insurrection

The Tarnac 9 are the organization that wrote The Coming Insurrection. A ground breaking book on you guessed it…the coming insurrection!

They are a seemingly mellow group who moved to a small village in France to live frugally, who fostered community and shunned capitalism as an AdBusters article stated. 300+ young people moved from an upper middle class lifestyle to the poor village of Tarnac, in hopes to get a way from a capitalist, socially unjust world.

The group lived a simple life and collectively ran a mobile delivery service, a restaurant, a cinema club and an informal library. They spent time creating community and worked on changing the world on a local level.

After their book was published and translated to over 30 languages they have become a target for the conservative right figures like Glen Beck and also the capitalist institution as a whole. They where charged with terrorism for their extreme views.

Here is what Wikipedia had to say about their book:

The book is divided into two parts. The first attempts a complete diagnosis of the totality of modern capitalist civilization, moving through what the Invisible Committee identify as the “seven circles” of alienation: “self, social relations, work, the economy, urbanity, the environment, and to close civilization”.[2] The latter part of the book begins to offer a prescription for revolutionary struggle based on the formation of communes, or affinity group-style units, in an underground network that will build its forces outside of mainstream politics, and attack in moments of crisis – political, social, environmental – to push towards anti-capitalist revolution. The insurrection envisioned by the Invisible Committee will revolve around “the local appropriation of power by the people, of the physical blocking of the economy and of the annihilation of police forces”.[3]

The book points to the late 2000s financial crisis, and environmental degradation as symptoms of capitalism’s decline. Also discussed are the Argentine economic crisis (1999-2002) and the piquetero movement which emerged from it, the 2005 riots and 2006 student protests in France, the 2006 Oaxaca protests and the grassroots relief work in New Orleans after Hurricane Katrina as examples of breakdown in the modern social order which can give rise to partial insurrectionary situations.

You can read the text in it’s entirety here, please spread the word.

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Marco Ferreri’s “Dillinger Is Dead”

Excerpts from “Apocalypse Now” essay by Michael Joshua Rowin and April 1969 issue of Ombre rosse magazine

Where Marco Ferreri’s earlier films contained straightforward, if transgressive, allegories about characters with clearly defined goals, in a world recognizable according to the standards of cinematic realism. Dillinger Is Dead throws narrative, psychological, and symbolic common sense out the window. Dillinger‘s trajectory may seem simple – a gas mask designer played Michel Piccoli (Glauco, although his name appears only in the script) returns home after work, cooks himself dinner, discovers a gun he believes belongs to Dillinger, seduces the maid, and shoots his wife in the head – but the refusal of clear-cut logic, its contradictory symbols, and its moral ambiguity open it to endless interpretation. (Even this new approach would not be radical enough for Ferreri, however: in the late sixties and early seventies, he helped produce hard-core leftist films by Glauber Rocha, and Jean-Luc Godard and Jean-Pierre Gorin’s Dziga Vertov Group, and, forever dissatisfied with the ability of cinema to make a social impact, he would later lament that Dillinger was too easily recuperated by the mainstream.)

April 1969, Ombre rosse
Interview by Goffredo Fofi and Ruggero Savinio

Critics have praised Dillinger Is Dead for its rigor and coherence, for the fact that there is no lapses in it.

It was easier to achieve that in the case of Dillinger than in my other films. But I should say that this sort of praise strikes me as ambiguous at best. The film owes its unity to the subject matter itself and to a set of technical choices: there is very little dialogue, for example, and that absence makes the sounds essential. Things like that.

Most of the objects and machines the protagonist avails himself of have a clear meaning. Still, we would like you to tell us something about his screening of the home movie of the hands. Could you talk about that, and also say something about the specific function of the TV clips, the underground film, and the cameo appearance of Italian film historian Adriano Apra?

The hands? It is a fetish of mine. It is also, and more to the point, an important aspect in the characterization of the protagonist: his hands, you will notice, are always busy, always manipulating something, doing things. This busyness is the exaggeration of an obsessive tic. The home movies gives this tic the chance to lead a life of its own, independent of the life of the main character. As for the TV clips, the basic ideas was to show the uselessness of language, of words that try to frame ideas by circling around them without ever getting to the heart of the matter. This is another exaggerated tic. The aim is to point up the vacuity of so much spoken language.

Do you believe that it is possible, working within a system, to make films that pull the rug out from under it and throw it into crisis?

Cinematographic channels are capable of absorbing everything. The operations required to throw the system into crisis are external to films themselves. In other words, it is not a matter of making a certain type of cinema as opposed to some other type. It would be good to break up certain organizations, form new groups…The value of the work ends up depending on factors that are extrinsic to the film, instead of intrinsic to it. The channels are the usual, age-old ones, and we are always working on unsteady ground. Cinema as an antialienation weapon – there you have a theme that has not yet received serious consideration. Dillinger might be useful to twenty people…But I make a film that will be seen and appreciated by the thousand people I probably hate the most. I mean all those characters who make up the so-called cultural world: people who haunt art galleries and art-house cinemas. A clan of the most hateful people around, or who I, at any rate, find least congenial…That’s why I want my next film to resemble my older ones. I want it to be much more provocative. I want to make a film in truly bad taste! I am not sure this is the right way to go; probably even this won’t have the desired effect. Some days ago, I saw a Cuban film called Las aventuras de Juan Quin Quin [by Julio Garcia Espinosa], and I think there is a lot we can learn from it. The film is a lesson to the public, and what is interesting is that the tone in which this message is delivered is just right: the language is such that it satisfies the public, who can relate to it, and the director as well, who can remain interested in it. The film manages to demythologize a Western hero by showing how to steal rifles and things like that. It does so in the best way: getting the public to think while being entertained.

What is the audience you make films for?

What audience? Well, that is a question one cannot afford to ignore, and one that comes up with increasing urgency in our day and age: step by step, we move forward…A film is useful if it serves some political purpose. Dillinger Is Dead is no use at all, since all it does is please the cultural ghetto. And who cares about that? Even provocation is no use anymore, for it, too, is immediately digested, along with everything else What is missing today, I think, is the impulse to render the audience, and the public in general, active. But how are we to do that? Maybe things were better-actually, things were better-at the very start, during the time of Méliès, the time of the fair booths, when, by means of the fair booths, thousands of new ideas reached the masses. We have to think seriously about the people who go to the movies, and about their money. If only it were possible to go back to the fair booth! Think about the worker who leaves his or her job dead tired at the end of the day: Why should we make him or her work yet another two hours? To please ourselves? Do we want to give this audience – we who are always working within the system, by the way – films that succeed only in pushing them aside, since it is never clear to them what the films are saying, what sense they make, and what use can they have? If this is what we are doing, then we are also robbing the workers in our turn. Obviously, it is a matter of language. Let’s take you as an example. You guys represent the politicized film buffs of Ombre rosse, a publication that is supposed to be offering the public something new. Why, then, don’t you stop using the aristocratic and technical vocabulary that tends to grace the pages of this publication and takes as you model Don Milani’s best-selling Letter to a Teacher instead?

Do you believe in the utility of an art-house circuit that would serve as a kind of countercircuit?

To do what? To screen what? In the case of Dillinger, of course, I asked the distributors to release it as quickly as possible after the premieres, in small theaters – the ones that already work a bit like a pre-art-house network. But it doesn’t matter so much. On the contrary, what exactly would be shown in this countercircuit? Films meant to educate the public in the same old paternalistic way? People are conditioned to see certain things. But maybe we ourselves are wrong. A countercircuit that includes Ponzi, Orsini, Amico, the Taviani brothers, Pasolini, Bertolucci, myself…what sort of unity would that be? What sense would that make? This countercicuit you mention is, after all, only another fruit of the same system. Soon enough, this countercircuit will become very fashionable; theater owners will notice that it is a profitable business and they’ll jump on it. This has already happened in Paris…Auteur cinema, they call it. And this auteur cinema is, precisely, an overly personal cinema. Take Orsini’s The Damned of the Earth: it is a political film, yes, but it is too difficult, too personal; the original Frantz Fanon text is quite complicated already, so try to figure out what the film will look like (I confess I haven’t seen it yet). A countercircuit certainly promotes a change of scene, and it does hold out the possibility of seeing something decent. But let’s not fool ourselves. This countercircuit is entirely integrated with the main one. There is nothing to do about that. Maybe we should do what Rossellini did in turning to television, since Rossellini, I hate to say it, is the only one who seems really to have understood a few things. The Taking of Power of Louis XIV is an important film, as important as Rossellini’s opinion on didactic cinema.

Why, then, do you keep making films “within the system”?

Right, why continue? We need to find formulas that are more popular. Are we right to provoke? Is that really called for? My ideas here are a bit confused, I am sure, but not so confused that I fail to notice that the cinema we make is useless. In situations such as ours, every form of discourse becomes personal. As such, these forms of discourse are completely ineffective, for honest and dishonest people alike. I am totally useless, and so are you. Not least because we’re missing a common political discourse to which we can refer…As for students, they cannot, with all their defects, be all that useful. This does not mean that a director should not try to break through his or her isolation and establish a common discourse. And I don’t mean by that the specialized discourse offered by morons like those aficionados of the Cinémathèque Française. That stuff is ridiculous, and incoherent to boot. Take their former passion for Hollywood films – why do they forsake it now? They are always moving to the “new” thing, but they fail to see that their discourse is always behind the times.

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Uh-Oh: Hurricane Season and the BP Oil Rig Disaster

Upon reading this article in May, I figured more people would talk about this, it didn’t happen. So hurricane season is upon us and now we have to wait and see what happens. This article being a month old still has some relevance. I wouldn’t feel right if I didn’t do my part and post this for the daily visitors to this blog to read.

By David Lindorff

One thing you don’t hear much mention of in all the coverage of the BP oil rig blowout that is now pouring 210,000 gallons of oil a day into the Gulf of Mexico, just a few dozen miles off the coast of Louisiana, is the 2010 hurricane season, which officially starts on June 1, but which can start significantly earlier.

This is, after all, an El Nino year, so storms could be more frequent and stronger than usual. In 2007, recall, the first storm of the season was Tropical Storm Andrea, which reached a size strong enough to merit a name on May 7.

Why does this matter? Because any attempt to use booms or chemicals keep the oil away from the Gulf Coast would be completely impossible in the event of a major storm entering the Gulf. The combination of high winds, storm surges and high waves would push the oil slick way inland up the bayous and onto the shelter islands that protect 40 percent of America’s wetlands.

It could do worse, too. The strong winds in hurricanes, sweeping across the surging waves they have created, suck up a considerable amount of surface water and blow it inland. This time, however, those winds could also end up picking up a considerable amount of the oil slick floating on the sea’s surface, which would be deposited as rain well inland, damaging croplands and forests, too.

Meanwhile, NASA and government scientists are warning that the well could end up turning into a gusher, releasing as much as 2 million gallons of oil a day into the Gulf – ten times the amount currently coming out of the broken well.

Why isn’t anybody talking about this hurricane issue? A Google search for the words “hurricane season” and “BP Oil leak” turned up lots of references to the “devastation of Hurricane Katrina,” but there is nary an article in a major news story about what effect this year’s hurricanes might have on the clean-up effort from what is likely to be a bigger oil disaster than the Exxon Valdez spill in Alaska.

So far, it’s looking increasingly likely that there will be no quick shutdown of the blown-out BP well, meaning that it could keep spewing out its contents into the Gulf, probably at an increasing rate, for several months. That would put it well into the middle of this year’s hurricane season, making it almost certain that at least one hurricane or tropical storm will pass right over the area and push that giant oil slick ashore.

And that’s not to mention what effect an untimely hurricane might have on any attempts to shut down the well. The most likely strategy is drilling several new wells that could both relieve the pressure on the current well, and also that could be used to pump mud or concrete or some other heavy, thick compound into the leaking well to try and stop it up. A major hurricane could wreak havoc with the new drilling rigs, particularly if only smaller ones are available for the job on short notice. A hurricane could also thwart efforts to drop a large tent over the leaking well – another scheme that is being contemplated, that would presumably funnel the rising crude oil into pipes that could deliver it to tankers for removal.

So far, all the talk has been about the urgency of getting booms in place to keep the oil slick from coming ashore, which it is starting to do now. But the real urgency should be to try to shut the thing down securely before the first hurricane hits, and to get as much of the already floating oil either chemically treated, burned off or skimmed before that hurricane arrives and blows it all ashore.

If you want a real disaster scenario, imagine this: a big hurricane – say Category 4 or 5 – enters the Gulf and heads straight for New Orleans again, and blows out the levees again. Last time, there was a fairly toxic stew of water covering much of the city. This time it would be water mixed with millions of gallons of crude oil.

The Katrina disaster would look like a picnic by comparison.

Hmmmm. No wonder neither BP nor the government are talking about hurricanes.


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Krzysztof Kieślowski’s escape from documentaries

Universality is not the neutral container of particular formations, their common measure, the passive (back)ground on which the particulars fight their battles, but this battle itself, the struggle leading from one particular formation to another. Take Krzysztof Kieślowski’s passage from documentary to fiction cinema: we do not simply have two species of cinema, documentary and fiction; fiction emerges out of the inherent limitation of the documentary. Kieślowski’s starting point was shared with all the cineastes in the Socialist countries: the conspicuous gap between the drab social reality and the bright, optimistic image which pervaded the heavily censored official media. The first reaction to the fact that, in Poland, social reality was “unrepresented,” as Kieślowski put it, was, of course, the move toward a more adequate representation of real life in all its drabness and ambiguity – in short, an authentic documentary approach:

“There was a necessity, a need – which was very exciting for us – to describe to the world. The Communist world had described how it should be and not how it really was…If Something hasn’t been described, then it doesn’t officially exist. So that if we start describing it, we bring it to life.”

I need only mention Hospital, Kieślowski’s 1976 documentary, in which the camera follows orthopedic surgeons on a 32-hour shift. Instruments fall apart in their hands, the electric current keeps breaking, there are shortages of the most basic materials, but the doctors persevere hour after hour, and with humor…Then, however, the obverse experience set in, best captured by the slogan used recently to publicize a Hollywood movie: “It’s so real, it must be fiction!” – at the most radical level, one can portray the Real of subjective experience only in the guise of a fiction. Toward the end of the documentary First Love (1974), in which the camera follows a young unmarried couple during the girl’s pregnancy, through their wedding, and the delivery of the baby, the father is shown holding the newborn baby in his arms and crying – Kieślowski reacted to the obscenity of such unwarranted probing into the other’s intimacy with the “fright of real tears.” His decision to move documentaries to fiction films was thus, at its most radical, an ethical one:

“Not everything can be described. That’s the documentary’s great problem. It catches itself as if in its own trap…If I’m making a film about love, I can’t go into a bedroom if real people are making love there…I noticed, when making documentaries, that the closer I wanted to get to an individual, the more objects which interested me shut themselves off.
That’s probably why I changed to features. There’s no problem there. I need a couple to make love in bed, that’s fine. Of course, it might be difficult to find an actress who’s willing to take off her bra, but then you just find one who is…I can even buy some glycerine, put some drops in her eyes and the actress will cry. I manged to photograph some real tears several times. It’s something completely different. But now I’ve got glycerine. I’m frightened of real tears. In fact, I don’t even know whether I’ve got the right to photograph them. At such times I feel like somebody who’s found himself in a realm which is, in fact, out of bounds. That’s the main reason why I escaped from documentaries.”

The crucial intermediary in this passage from documentary to fiction is Camera Buff (1979), the portrait of a man who, because of his passion for the camera, loses his wife, child, and job – a fiction film about a documentary filmmaker. So there is a domain of fantasmatic intimacy which is marked by a “No trespassers!” sign and should be approached only via fiction, if one is to avoid pornographic obscenity. This is why the French Veronique in The Double Life of Veronique rejects the puppeteer: he wants to penetrate her too much, which is why, toward the end, after he tells her the story of her double life, she is deeply hurt and escapes her father. “Concrete universality” is a name for this process through which fiction explodes documentary from within – for the way the emergence of fiction cinema resolves the inherent deadlock of documentary cinema. (Or, in philosophy, the point is not to conceive eternity as opposed to temporality, but eternity as it emerges from within our temporal experience – or, in an even more radical way, as Schelling did it, to conceive time itself as a subspecies of eternity, as the resolution of a deadlock of eternity.)
—excerpt from “The Parallax View” by Slavoj Žižek with quotes from Kieślowski

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Recyclopædia Britannica

In one of his earliest and best-known essays, Sergei Eisenstein described five types of montage, illustrating each with scenes from his own films. The first four types (metric, rhythmic, tonal, and overtonal), deeply influenced by Ivan Pavlov’s study of reflexology, were conceived to trigger distinct physiological effects in the viewer.

Now imagine if you will Eisenstein’s realization that inherent within this methodology was a collusion with the forces making life miserable for himself and his fellow countrymen. The development of his fifth type—intellectual montage—seems a natural conclusion for a troubled conscience such as his.

While intellectual montage generates humor in the hands of experts (Dusan Makavejev, Craig Baldwin), it’s best suited for works of high-minded intent (Eisenstein’s unrealized Das Kapital, Pasolini’s La Rabbia.) So what about other modes of construction, more aligned with the mischievous humor evident in Eisenstein’s drawings and familiar to his friends, but seldom on display in the films themselves? We would have to find the “lost” notebook in which he was seeking just that, formulating a sixth type of montage that deployed physiological means, but with entirely other ends in mind. Call it malapropic montage, the intentional violation of narrative continuity by inserting or assembling shots containing mismatched actors and actions into a cinematic sequence.

If Margaret Thatcher’s face launched a thousand punk bands, Vicki Bennett has for nearly twenty years been part of England’s defiant rear guard or, to use her preferred term, the “avant-retard”. Under the moniker of People Like Us, Bennett has shaken laughter loose from the most tightly-wound of listeners and, in more recent years, viewers. Putting things where they just don’t belong, her prodigious audiovisual output and stateside radio show on WFMU infuse the plunderphonia of John Oswald and The Tape-beatles with the British comic tradition in all its coarse and bawdy glory. Staying true to the principle of “share and share alike”, most of her musical and moving-image output is now available for free download through Ubuweb.

Her new video, Genre Collage, is currently touring the world as a live audiovisual performance. Produced with assistance from Tim Maloney, it relies less on the layered compositing of much of her previous video work and embraces hard cuts and classical editing syntax. Earlier videos such as Discovering Electronic Music (99) and The Remote Controller (03) drew extensively from Prelinger Archive material and other orphan ingredients, and yet achieved something far beyond the easy camp effects so common among the works of others that tap these sources.

The dark undercurrents and self-referentiality that course through the earlier videos are as strong as ever. But unlike those earlier pieces (or Bruce Conner’s A MOVIE, with which it otherwise shares strong ancestral ties), Genre Collage draws instead on narrative feature films for its source material––nearly 100 in all. Enter the Dragon commingles with the climactic shootout of The Lady From Shanghai; also appearing are Tobor the Great, The Poseidon Adventure, and plenty of Hitchcock. Peter O’Toole, O.J. Simpson, and Donald Duck are just a few of the many “guest stars”; Mary Poppins pops in as a harbinger of disaster.

Malapropic montage stands unwittingly as a testament to the power of Kuleshov’s experiments and, in turn, to the film grammar adopted by, if not invented, in Hollywood. The eyeline match especially is revealed as a nearly foolproof adhesive, and malapropic success might be measured by the degree to which adjacent elements that don’t belong anywhere near each other nevertheless stick.

Eisenstein had initially sought collision in the joining of two shots to complete a circuit and send a shock through the viewer’s emotions; later, his lost notebook seeks in malapropic montage a way of “of effectively circumventing the higher nerve systems of the thought apparatus.” Bennett, in turn, has taken Eisenstein’s montage collisions and refashioned them as bumper cars at a seaside carnival.
—excerpt from “In search of Eisenstein’s lost montage with Vicki Bennett” by Jim Supanick

See more at

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