“The majority of the 3D models used in the video are based on real objects from Space; the Hubble Space Telescope, Progress and Voyager 1. The planets and moons in the video are generated using NASA imagery, and helped to create a formal aspect to an otherwise abstract piece.”
As anyone who frequents this site knows, I’m a big fan of ‘wormhole’ videos. That’s not a formal, industry term or whatever just a little tag I started attaching to any video with a significant portion dedicated to taking bringing the viewer on a journey directly towards (or away from) the center of the frame. The first one I can remember seeing is 2001’s infamous ‘Star Gate’ slitscan sequence and I disctinctly remember wishing it had been twice (or three times) as long.
Ever since the inception of this site over three years ago I’ve tried to collect the best examples of the form and my current favorites are Max Hattler’s Sync, the bizarre and whimsical Pelican by David Wilson Creative (for The Maccabees), Jesse Kanda’s psychedelic sea-punk music video for Arca’s Manners, Quantum Leap by Thomas de Rijk (for Slugabed), and Carl Burton’s supremely strange and intriguing short film, Shelter.
Attached above is a video – by Stuart Sinclair – that fits in nicely with the aforementioned watchables. The glitchy, looped-and-syncopated music by Suns is just-right for a dive through space and the wire-frame visuals heighten the futuristic, tech-drenched vibe.
Top-marks all the way ‘round. ENJOY!
Oh and be sure to check out our wormhole feed, it’s not-to-be missed.
“In this endless freedom of thought you found no answers to these basic matters of human being, only a myriad choice of ideas lost in a deep dark hole of uncertainty.”
My first thought after watching the attached was, ‘this could have easily been in The Animatrix,’ so prep yourself for some late-night, cerebral, sci-fi shit. It was inspired by GOLEM XIV, a short story by Stanislaw Lew, and its visuals, atmospheric soundtrack and cold, sterile narration all pay proper homage to the deep, apprehensive spirit of his writings.
Co-directors Patrick Mccue and Tobias Wiesner said that their creative intention for the film was to inspire others to, ‘face [their] own process in this world with reflection and self responsibility, to stay curious and create, look for new ideas and stay keen,’ so get your mind shifted into the proper gear for maximum absorption.
For me, that means full-screen-in-a-dark-room with a nice pair of headphones on.
posted by respondcreate on Mar. 01, 2012 in Videos | tags: brdg, daihei shibata, dance, electronic music, future, hiroshi sato, music video, plusmus, robots, science fiction, technology, trippy, yaporigami
I first saw A.I. at the movies in the summer of 2001. I distinctly remember enjoying it. I haven’t watched the film since but in the past 10 years I’ve heard people talk about how they didn’t really like it. Not that it was bad, mind you, but just that it didn’t knock their socks off; overall just not especially memorable, you know?
I’m trying to remember the plot points now and, honestly, am having a difficult time. There’s that kid from Sixth Sense and he’s a robot but he’s unhappy, right? Does he want to be a ‘real boy’ or something? I feel like there’s definitely some Pinocchio similarities or some shit.
Anyways, what I do remember are the visuals. I was always into watching stuff from a young age but 2001 was towards the beginning of when I started to set aside time to appreciate culture. When I realized art isn’t just Vivaldi or Rembrandt (though they both most certainly are); that it’s anything people create that inspires them; that the things I love – movies, music videos, electronic music, video games etc. – are worth admiring and paying attention to.
Oh right, about that: the visuals! Just rich, colorful and all ‘glow-y’. Great costumes, make-up and set design too. Spielberg is a wizard at atmosphere. Speaking of which, that’s why I’m diggin’ hard on this, the latest from our good pal Pogo. He leverages all the little visually-rich moments that stand out, mining them of their audio and then reassembling it back together again, creating an entirely unique experience. It’s all mood and feeling and I fucking love it. So much so that I’m going to give the movie another go in the coming weeks and then starting disseminating my thoughts in 140-character increments over on Twitter. Do you have an account there? Wanna talk about movies or something?
Oh and just wait til 2:01 when the Jude Law melody kicks in. Nice.
Lights down, volume up and enjoy!
posted by respondcreate on Feb. 04, 2012 in Videos | tags: a.i. artificial intelligence, ambient, chill, colorful, electronic music, future, moody, nick bertke, pogo, remix, robots, science fiction, steven spielberg, technology
It took two years for Celine Desrumaux to complete this short film – the care and patience invested shines through – and she cites Chris Ware, Hans Richter, Len Lye, Stanley Kubrick, Godfrey Reggio and this iconic speech by John F. Kennedy as her primary sources of inspiration. The visuals are amplified considerably by the haunting, urgent sounds of Apparat, a musician whose tunes I highly recommend you start acquiring. Especially his entry in the DJKicks series and Orchestra of Bubbles, a timeless and transporting collaboration with Ellen Allien.
Celine’s visuals do an excellent job of teasing out the inherent warmth of Granulard Bastard, highlighting the seemingly contradictory tension of how technology, often times cold and distant, can be a tool for achieving something as natural/instinctual like the humanity’s need to explore. It’s fantastic.
If you’re diggin’ the Apparat then don’t miss Warm Signal which we posted back in January.
“As part of the M1 motorway upgrade scheme the Highways Agency (Yorkshire and Humber) closed the A1, North Yorkshire between Junction 60 (near Darlington) and Junction 49 (Dishforth). Saturday 9 April - Sunday 10 April 2011”
Time lapse has a way of distorting reality that can sometimes provide new perspectives beyond the obvious ‘this is what things would look like if everything moved faster.’ For one, I never noticed how construction equipment looks a lot like insects. Another: human beings have come a long way. If it was possible to significantly increase the time lapse interval (from seconds to centuries) we could witness first hand the insane reality that we’ve gone from nomadic hunter-gatherers to bridge-builders(/destroyers) to iPhone designers in just a handful of millennia. Whoa.
James Miller (the chap who created this) made the right call for the soundtrack; Angèle Dubeau & La Pietà‘s I. Relaxed Groove is anything but, tumbling along with a frentic, exacting precision that’s a fitting compliment to what’s happening in frame.
A big thanks to Ian Bertolacci who suggested we check it out. Cheers!
I’m not sure what’s happening here, but I’m way into it.
Please give Candas Sisman gobs of money so she can make a feature length movie with no dialogue and lots of visuals that look like this. Thanks in advance!
The official music video for ‘The Music Scene’ by Blockhead. An animated mind melt into a post human New York where TV and animals rule.