|8:30PM||Live Music by Hot Sugar|
|9:00PM||Films and Interactive Presentation begin|
5 MetroTech Center, Brooklyn, NY 11201
A, C, F or R Train to Jay Street Metrotech or 2, 3, 4, 5 to Borough Hall or B, Q or R to DeKalb
A collection of new short films featuring datamoshed moments and postmodem lifestyles, accompanied by new interactive works from the Brooklyn Experimental Media Center and the CITE Game Innovation Lab, both at NYU-Poly.
If the beginning of the universe involved infinite energy packed into a singularity, with all the material and information of history compressed unrecognizably, our current state of technological sprawl might represent a midpoint toward the end, the outer stretch of the expanding universe, with data conflicting facts and substance-less ideas zipping around as ones and zeroes, readying for the collapse back down to chaos. If so, the human beings (and robots and deities) in this exciting program of short films are having a grand time interfacing with the constructions of our annihilation. Hilarious and thoughtful, filled with visual anarchy but complex reasoning, “It’s cool cuz its nerdy!”
- Mark Elijah Rosenberg
Synaesthetic Object (R. Luke DuBbois | Brooklyn, NY | 12 min.)
Synaesthetic Object (Coltrane) is a live audio-visual performance that uses computer analysis of John Coltrane's Ascension (1965) as the basis for a real-time 3D rendering of a shape. The performer manipulates the rendering throughout the performance by altering a set of improvisation parameters that control how the shape shifts and behaves. The sound in the piece is derived from a direct scan of the geometry of the shape at different frequencies, creating an ever-shifting drone. The use of a seminal free jazz album as, effectively, a noise source for generative graphics allows the performed shape and resulting music to have a nuanced vocabulary of gestures that translate into a highly expressive canvas for synaesthetic performance.
Datamosh (Yung Jake | USA | 5 min.)
Find me on the internet, I’m making GIFs…You thought it was an accident, a video glitch.
Remember Carthage (Jon Rafman | USA | 13 min.)
Wandering through a pseudo-Second Life version of the world, the narrator feels lost and isolated in phony Las Vegas, so he travels to what was ancient Carthage in search of authenticity. But all he discovers is a slipping sense of reality and a series of simulacrums fading into history, as the desert town becomes the old desert town becomes the ancient destroyed desert town.
RPG OKC (Emily Carmichael | 9 min.)
Even video games fall in love.
#PostModem (Jillian Mayer and Lucas Leyva | USA | 13 min.)
A comedic, satirical sci-fi musical based on the theories of Ray Kurzweil and other futurists, this bizarre film tells the story of two Miami girls and how they deal with the technological singularity, as told through a series of cinematic tweets.
Happy Birthday (Rhio Unt | USA | 12 min.)
History’s top scientists have created an all-powerful robot, but mankind still worships Jesus. A final battle of ping-pong may determine our future.
Magnetic Reconnection (Kyle Armstrong | Canada | 13 min.)
Past technology once seemed ready to conquer the world, but in the end nature prevails, as seen in this artful documentary film contrasting the Northern Lights with decaying man-made debris surrounding the Arctic Canadian town of Churchill, Manitoba. Original score by Jim O'Rourke and voice-over by Will Oldham.
"Amidst the dizzying array of chopped, looped, and sampled sounds that constitute much of today’s electronic music scene, New York City-based producer/musician/gifhead Nick Koenig’s work stands alone. Koenig, who performs under the moniker Hot Sugar, relies on his own surroundings and aural intuition to craft entirely original beats from scratch. The process, which he refers to as Associative Music, involves recording found sounds (such as a rat’s heartbeat, Hurricane Sandy, a cracking skull) and manipulating them into infectious melodies. The technique requires meticulous skill, risky experimentation (Koenig once admitted to electrocuting himself for the “zapping sounds”) and often, an affinity for the eccentric. Since bursting onto the music scene in 2011, Koenig’s unorthodox approach and unpredictable instrumentals have caught the attention of rap artists The Roots, Big Baby Gandhi and Das Racist, triggering a string of dream collaborations, a new album, and recently, a big-time Grammy nomination. Koenig filled us in on his latest successes over email, where he signed every message with a far-from-sinister ‘< 3'." -Bullett