[spectre] 9-6-11 banzai film

{ brad brace } bbrace at eskimo.com
Thu Jun 9 20:19:24 CEST 2011

[ this message contains no predatory institutional-spam ]

Banzai Films: for a limited time -- free as I make 'em:
sudden/short/small mp4 films loosely based on the japanese
tsunami in 2011 -- includes improvised kite-cam
shoreline-imagery with contemporary phased audio pastiche...

latest films:

=A5 http://iabrace.com       banzai7-6-11.mp4
=A5 http://iabrace.com       banzai6-6-11.mp4
=A5 http://iabrace.com       banzai5-6-11.mp4
=A5 http://iabrace.com       banzai4-6-11.mp4
=A5 http://iabrace.com       banzai3-6-11.mp4
=A5 http://iabrace.com       banzai2-6-11.mp4
=A5 http://iabrace.com       banzai1-6-11.mp4

2011 banzai films by brad brace: http://www.iabrace.com/

please download, then view: 176*144 vlc recommended; these
films were all made with a palm-sized $100 camera and
perplexing open-source software; the artist has been refused
corrupt-bogus cultural/institutional funding, employment,
and representation for 40 years; the time has long come to
wash-away this stupidly-obscene feudal arts-system. For
every star-driven enterprise there are corollary benefits
for those who support it and keep their mouths shut. Admit
the truth and have it retched from your complicit corporate
gullets. Criminal institutions who perpetuate the malicious
scam of "art history" shall have their plunder expropriated
and denizens/acolytes terminated. end the evil global
empire.  banzai!

($50 dvd pre-orders include the
molecular-recidivist-cultural essay "fire ring theory" and
available through
  http://bradbrace.net/buy-into.html )

~ earlier filmworks include:

"silent innings" are curious little mp4s of a nicaraguan
baseball scoreboard made in 2008; fanboat films are short
mp4 artworks by brad brace, originally posted on facebook in
2009 -- wild outboard sax music amid shifting layered
imagery inspired by florida fanboats and columbia river
barge traffic -- special bonus collection:  matchbook movies
from 1984 (small quicktime movies intended for
looped-viewing in a corner of your desktop) over 87 films in
all! http://tinyurl.com/43g8w52
 ($65/dvd lulu or $50 from me)


You cannot politically defy the institutions when all you
really wanted was to be clasped to their bosoms and hope in
time to be cherished under the very framework of oppressive
values you are thinking of overcoming. That would be
co-optation, revolution only in the sense of a circulation
of elites rather than the extirpation of the very impulses
of elitism.

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most institutional-art of the mediocre-evil-empire remains
bound up with sign-play:  it's a meta-art largely dependent
on its echoes of past psuedo-radicalism, or conversely on
its witty frisson-laced inversions of orthodox notions of
what makes art edgy, experimental, important... but when art
styles finally shed all those ghost traces of corrupt
history and achieve a perfact non-referential blankness, the
past will cease to be a museum or even an archive, and
become a simply a set of resources: materials to be used
without reverence or nostalgia... no longer pointing to the
past, art will be ready to reconnect to the world happening
beyond the screen...



Western Sahara=E2 eighth Sahara International Film Festival
(known as FiSahara), the world's most remote film festival,
took place in early May this year deep in the Algerian
desert. The festival is located in a refugee camp 130 miles
from the nearest town in the Algeria desert and aims to
offer entertainment and educational opportunities to the
refugees as well as raise awareness of a forgotten
humanitarian crisis. The refugees are Saharawi=E2 from Western
Sahara - occupied unlawfully by Morocco in 1976 - and an
estimated 165,000 of them have lived in four camps for over
three decades.


=09The liberal idea of an appropriate balance between security and
      liberty is an illusion. The only vision the security paradigm offers =
      - with the pernicious technologies and its perverse logic which grips
      us in a double bind - is an empty, controlled, over-exposed landscape
      from which all hope of emancipation has faded, and where all we have
      left to do is obsessively measure the risks posed to our lives from t=
      ever-present specter of catastrophe.

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