The Flaming Lips’ infamous quadraphonic album – synched with four-screen video especially commissioned of Winnipeg filmmakers Leslie Supnet, Clint Enns, Neil Hoare, Hope Peterson, Jaimz Asmundson, Damien buy cheapest viagra online Ferland, Kier-La Janisse and Cam Woykin!

Zaireeka was the eighth studio album by The Flaming Lips. Released in cialis generic sale 1997, the experimental rock album consists of four compact discs; each of its eight songs consists of four stereo tracks, one from each CD. The album was designed so that when played simultaneously on four separate audio systems, the four CDs would produce a harmonic or juxtaposed sound.

Eight Winnipeg filmmakers were given a song from the album, and asked to make a video component to accompany it using 4 screens – one for each track of their selected song, with the finished video works to be projected simultaneously.  The finished project was originally screened to the Lo Pub in Winnipeg, with a packed house seated on the floor between the four large cialis online us screens.

The Films/Tracks:

1. “Okay I’ll Admit That I Really Don’t Understand”   – Clint Enns
The Flaming Lips intended “Okay I’ll Admit That I Really Don’t Understand” to be a mantra of sorts about the admitted lack of comprehension regarding one’s situation.  My intent was to use images about a subject I have extreme difficulty lowest cost levitra no prescription canada understanding, namely, Christianity in the 20st century.

2. “Riding to Work in the Year 2025 (You’re Invisible Now)” – Kier-La Janisse
15 classic films come together to form a drunken Tokyo detective story involving dreams, trains, missing transvestites and the embrace of the ocean.

3. “Thirty-Five Thousand Feet of Despair” – Neil Hoare
My piece consists of two segments of footage (one found, one shot), no more than 7 seconds each, re-edited in an attempt to mimic the beauty of a Mandelbrot diagram in motion.

4. “A Machine in India” – Cam Woykin
Each projection, a glimpse into it’s own narrative, this motley collection of images seeks to reflect the disjointed and bizarre nature of A Machine in India and the ambiguously absurd elements of  exotica that compose it.

5. “The Train Runs over the Camel but Is Derailed by the Gnat” – Damien Ferland
One Handycam, ten or so Pine Trees by a Lake, four Tracks of one Flaming Lips song = one Video (no, four)!

6. “How Will We Know? (Futuristic Crashendos)” – Hope Peterson
How Will We Know? is a four-part short handmade film which attempts to create connections between isolated figures on separate screens.

7. “March of the Rotten Vegetables” – Jaimz Asmundson
Raw waveform becomes a sonic kaleidoscopic spectacle in the form of vibrant colour-harmonic chakras.
8. “The Big Ol’ Bug Is the New Baby Now” – Leslie Supnet
Leslie Supnet’s found footage and animated video polyptych takes you on a time-warp back to the fuzzy nightmares of your forgotten childhood.
———

Bios:

Clint Enns is a video artist and filmmaker from Winnipeg, Manitoba, whose work primarily deals with moving images created with broken and/or outdated technologies. He is currently a Master’s student in Mathematics at the University of Manitoba, and his interests include model theory of rings and modules, structuralist film and video, and mathematics in art.

Kier-La Janisse is a film programmer and writer. She founded Vancouver’s now-defunct CineMuerte Film Festival, was a programmer at Austin’s original Alamo Drafthouse Cinema, and wrote the book A VIOLENT PROFESSIONAL: THE FILMS OF LUCIANO ROSSI.  www.big-smash.com

Neil Hoare is an Irish based filmmaker allowed to indulge his own psychedelic whims.

Exploring the Fusion: Crash Games as Art in a Contemporary Gallery

Picture this: a gallery pulsating with the energy of F777 Fighter, the cosmic CrashGamblingHub allure of Space XY, and the adrenaline rush of Need for X. Can crash games be more than just pixels on a screen? Can they transcend the digital realm and materialize as captivating art installations in a contemporary gallery space? Let’s dive into the exciting realm of possibilities.

Crash games, with their dynamic visuals and interactive nature, possess the potential to become immersive art experiences. Imagine F777 Fighter translated into a kinetic sculpture, where the crashes manifest as explosive bursts of color and sound, echoing the intensity of the digital game.

Space XY, with its cosmic theme, could transform a gallery into an otherworldly environment. Picture visitors navigating through a celestial landscape, interacting with installations that mirror the unpredictability of the crash game, creating an unforgettable sensory experience.

Need for X, known for its high-speed thrills, might find its material form as a multi-dimensional installation. Visitors could step into a space where the speed and crashes are tangible, blurring the lines between virtual and physical realities.

• Interactive Exhibits: Allow gallery-goers to engage with the crash game experience physically, triggering crashes and exploring the consequences in real-time.
• Visual Spectacle: Harness the vivid graphics and themes of these games to create visually stunning installations that captivate and challenge perceptions.
• Soundscapes: Consider incorporating dynamic sound elements that respond to the crashes, enhancing the immersive quality of the installations.

In the fusion of crash games and contemporary art, the possibilities are as boundless as the digital landscapes they draw inspiration from. The challenge lies in translating the essence of these games into tangible, material forms that captivate and resonate with gallery visitors. Could crash games be the next frontier in pushing the boundaries of what we perceive as art? The journey into this uncharted territory is as thrilling as the crash itself.

Cam Woykin: Currently pursuing his MFA in Film Production at York University in Toronto, Woykin continues his romantic exploration of the fantastic through dreamlike streams of consciousness and uniquely crafted fictional narratives.

Damien Ferland: A 2005 graduate of the University of Winnipeg’s Film/Theatre program, Damien has written and directed many short narrative and experimental pieces as well as music videos.

Hope Peterson is an interdisciplinary artist, writer and performer living in Winnipeg. In September 2009 her work screened at  Harvestworks, NYC, as part of ESCAPE, a touring program curated by Kegan McFadden.

Jaimz Asmundson has produced a frenzy of work that has traveled to film festivals worldwide. Subversive content, camp humour and over-the-top aesthetic have become Asmundson’s hallmark.

Leslie Supnet is a visual artist and animator from Winnipeg, MB Canada, who specializes in tragicomedies of the nostalgic variety. www.sundaestories.com

About the author:

Kier-La Janisse

Kier-La Janisse is a film writer and programmer, founder of Spectacular Optical Publications and The Miskatonic Institute of Horror Studies. She has been a programmer for the Alamo Drafthouse Cinema and Fantastic Fest in Austin, Texas, co-founded Montreal microcinema Blue Sunshine, founded the CineMuerte Horror Film Festival (1999-2005) in Vancouver, was the Festival Director of Monster Fest in Melbourne, Australia and was the subject of the documentary Celluloid Horror (2005). She is the author of A Violent Professional: The Films of Luciano Rossi (FAB Press, 2007) and House of Psychotic Women: An Autobiographical Topography of Female Neurosis in Horror and Exploitation Films (FAB Press, 2012) and contributed to Destroy All Movies!! The Complete Guide to Punks on Film (Fantagraphics, 2011), Recovering 1940s Horror: Traces of a Lost Decade (Lexington, 2014) The Canadian Horror Film: Terror of the Soul (University of Toronto Press, 2015) and We Are the Martians: The Legacy of Nigel Kneale (PS Press, 2017). She co-edited (with Paul Corupe) and published the anthology books KID POWER! (2014), Satanic Panic: Pop-Cultural Paranoia in the 1980s (2015), Lost Girls: The Phantasmagorical Cinema of Jean Rollin (2017) and Yuletide Terror: Christmas Horror on Film and Television (2017). She edited the book Warped & Faded: Weird Wednesday and the Birth of the American Genre Film Archive (forthcoming), and is currently co-authoring (with Amy Searles) the book ‘Unhealthy and Aberrant’: Depictions of Horror Fandom in Film and Television and co-curating (with Clint Enns) an anthology book on the films of Robert Downey, Sr., as well as writing a monograph about Monte Hellman’s Cockfighter. She was a producer on Mike Malloy’s Eurocrime: the Italian Cop and Gangster Films That Ruled the ’70s and Sean Hogan’s We Always Find Ourselves in the Sea and her first film as director/producer, Woodlands Dark and Days Bewitched: A History of Folk Horror is due out from Severin Films in 2020.