“And there’s Andy Warhol’s fifteen minutes. His time limit for fame, for the spotlight. And so why is it fifteen minutes, and not ten or three? Or a New York minute? And then I remembered – fifteen was a famous number at that time. It was in all the papers: fifteen minutes was the time that took for an ICBM to reach New York City from Moscow. You remember Moscow.”(Laurie Anderson, 2003)
(ICBM = 大陸間弾道ミサイル)
If you missed the screening earlier this week during Zemi, know that you missed a chance to watch one of the most brilliant fusions of ‘high art’ and popular culture. Ever. No one else, before or since, has done anything quite like this.
Check out this show reel of music videos with cinematography by Montreal based Evan Prosofsky. All shot with super 35mm and super 16mm and Arriflex cameras. Perhaps you’d already noticed the filmic look of Grimes’ breakthrough video for ‘Oblivion‘, directed by, also based in Montreal, Emily Kai Bock, and featuring the football team of my alma mater マギル大学. The demo reel comes with the byline: “Please help keep film alive! Shoot film.” and Evan’s CV indicates that most of his projects are done with film, though he has used Red cameras on a couple of videos.
Anyways, shoot film! It’s one way to stand out from the crowd.
A/V sync is a little off and resolution is low, but this video of Tuvan artist Sainkho Namtchylak is still great.
Part of my academic genealogy (ancestry). This is still missing an important root. Perhaps the best known fore bearer visible above is Edward Purcell. Going back another couple of generations, my academic family tree includes Ernest Rutherford, JJ Thomson, Lord Rayleigh, Paul Ehrenfest, Hermann von Helmholz, Ludwig Boltzmann, and others.
Kind of biblical prophecy meets MTV.
Recorded via stereo 400 millihenri coils. The song you hear part way through is Julian Cope’s ‘Laughing Boy’ from the album ‘FRIED’. It started playing on YouTube after restarting the computer, which evidently never goes (electromagnetically) completely silent during a restart. It is recorded here not acoustically, but through electromagnetic emissions due to movement of the computer speaker coils.