Eternally Zooming In On Nydia Lilian’s GIFs


The sub­jects of Nydia Lil­ian’s pho­tog­ra­phy are varied—everything from land­scapes to insects arranged in kalei­do­scopic patterns—but she cap­tures all of them in a sim­i­larly gloomy, evoca­tive light, stick­ing to black and white for all of her cre­ative projects. For her newest series, bad dream, Lil­ian explores the for­mat of the ven­er­a­ble GIF.

Look­ing at land­scapes, cityscapes, and wild pat­terns through a dynamic eye, she presents each piece flash­ing between its actual color (in black and white) and its neg­a­tive col­ors. The alter­nat­ing images give the illu­sion that you are eter­nally zoom­ing in on the pic­ture, mov­ing quickly enough that they cre­ate a dis­ori­ent­ing feel­ing akin to this psy­che­delic gem, although sig­nif­i­cantly more pleas­ing to the eye. Fun as they are to look at, let’s hope no one is actu­ally hav­ing “bad dreams” of this nature.

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Read The Illustrated Script for Moonrise Kingdom

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Just in time for awards sea­son, Focus Fea­tures con­cocted a clever cam­paign for their Acad­emy Award nom­i­nee for Best Orig­i­nal Screen­play, Moon­rise Kingdom.

The entire script of Wes Ander­son and Roman Coppola’s film about a town search­ing for two run­away 12-year-olds in love is avail­able for free online on the Focus Fea­tures website.

The brightly-colored illus­trated script resem­bles the set design of the movie and fea­tures both behind-the-scenes pho­tos and shots from the com­pleted film. Hand­writ­ten pro­duc­tion notes and inspi­ra­tion art­work are also included.

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Directed by Ander­son, Moon­rise King­dom stars young­sters Jared Gilman and Kara Hay­ward as well as Bruce Willis, Edward Nor­ton, Bill Mur­ray, Frances McDor­mand and Tilda Swinton.

Click on the image below to down­load the script as PDF file. 


Grounded in the ele­giac com­po­si­tions of clas­si­cal com­poser Ben­jamin Brit­ten, whose majes­tic choral Noyes Fludde ignites the film’s young lovers, Moon­rise King­dom fea­tures mas­ter­works per­formed by Leonard Bern­stein and the New York Phil­har­monic as well as pop­u­lar gems per­formed by French chanteuse Françoise Hardy and the leg­endary coun­try trou­ba­dour Hank Williams.

As in all of Anderson’s pre­vi­ous films, music is an essen­tial ele­ment and once again it is used to mas­ter­ful effect. Moon­rise King­dom includes an orig­i­nal suite by renowned film com­poser Alexan­dre Desplat as well as per­cus­sion com­po­si­tions by long­time Ander­son col­lab­o­ra­tor and Devo co-founder Mark Moth­ers­baugh. This sound­track is one of his most inter­est­ing and com­pelling releases.

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Ty Segall’s Thank God For Sin­ners / Mathieu Santos’ Northern Mentality


The new video for Ty Segall’s crunchy garage punk track “Thank God For Sin­ners” gets real fleshy, real soon. Directed by Matt Yoka, it dares you to won­der just which writhing body part you’re star­ing at. Watch it below. That is, if you’ve got the stomach.

Thank God For Sin­ners” is off Twins, out now via Drag City. His next sin­gle, “Would You Be My Love”, drops as a 7″ sin­gle today (Jan­u­ary 22nd.) Pre-order it here.

In related news, the San Fran­cisco rocker kicks off his first full North Amer­i­can tour in sup­port of Twins this week­end. Check out his updated tour sched­ule.


Ra Ra Riot bassist Math­ieu San­tos released a solo album called Mass­a­chu­setts 2010 last year, and today we’ve got the eye­bleed of a visual for the sin­gle “North­ern Men­tal­ity.” Given that the song is a per­cus­sive, hyp­notic indie num­ber, the video is pretty good match, with respect to aes­thetic.  Cole Han­non directs and composes.


The Beat Hotel

The Beat Hotel, a new film by Doc­u­men­tary Arts, goes deep into the legacy of the Amer­i­can Beats in Paris dur­ing the heady years between 1957 and 1963, when Allen Gins­berg, Peter Orlovsky and Gre­gory Corso fled the obscen­ity tri­als in the United States sur­round­ing the pub­li­ca­tion of Gins­bergs poem Howl. They took refuge in a cheap no-name hotel they had heard about at 9, Rue Git le Coeur and were soon joined by William Bur­roughs, Ian Somerville, Brion Gysin, and oth­ers from Eng­land and else­where in Europe, seek­ing out the free­dom that the Latin Quar­ter of Paris might provide.

The Beat Hotel, as it came to be called, was a sanc­tu­ary of cre­ativ­ity, but was also, as British pho­tog­ra­pher Harold Chap­man recalls, an entire com­mu­nity of com­plete odd­balls, bizarre, strange peo­ple, poets, writ­ers, artists, musi­cians, pimps, pros­ti­tutes, police­men, and every­body you could imag­ine. And in this envi­ron­ment, Bur­roughs fin­ished his con­tro­ver­sial book Naked Lunch; Ian Somerville and Brion Gysin invented the Dream Machine; Corso wrote some of his great­est poems; and Harold Norse, in his own cut-up exper­i­ments, wrote the novella, aptly called The Beat Hotel.

The film tracks down Harold Chap­man in the small sea­side town of Deal in Kent Eng­land. Chap­mans pho­tographs are iconic of a time and place when Gins­berg, Orlovsky, Corso, Bur­roughs, Gysin, Somerville and Norse were just begin­ning to estab­lish them­selves on the inter­na­tional scene. Chap­man lived in the attic of the hotel, and accord­ing to Gins­berg didnt say a word for two years because he wanted to be invis­i­ble and to doc­u­ment the scene as it actu­ally happened.

In the film, Chap­mans pho­tographs and styl­ized dra­matic recre­ations of his sto­ries meld with the rec­ol­lec­tions of Elliot Rudie, a Scot­tish artist, whose draw­ings of his time in the hotel offer a poignant and some­times humor­ous coun­ter­point. The mem­o­ries of Chap­man and Rudie inter­weave with the insights of French artist Jean-Jacques Lebel, author Barry Miles, Dan­ish film­maker Lars Movin, and the first hand accounts of Oliver Har­ris, Regina Wein­rich, Patrick Amie, Eddie Woods, and 95 year old George Whit­man, among oth­ers, to evoke a por­trait of Gins­berg, Bur­roughs, Corso and the odd­i­ties of the Beat Hotel that is at once unex­pected and revealing.

Subjective Character Analysis

A few days ago we posted a mash-up arti­cle about Bob Mizer and thanks to it being men­tioned by Claire B. Pot­ter on his blog Tenured Rad­i­cal, I real­ized there was an exhi­bi­tion going on in Man­hat­tan, so I decided to go see the Bob Mizer show at Invis­i­ble Exports, a tiny gallery on Orchard Street.

Given the size of the orig­i­nal archive (about 2 mil­lion pic­tures), the size of the exhi­bi­tion (just a few pic­tures) was a lit­tle dis­ap­point­ing, how­ever it was still totally worth it to take the time to see some of the pic­tures they have. The one at the top is the one I liked the most.

One thing that caught my atten­tion though was the page with sym­bols below which I saw on the book Bob’s World in the gallery.

Those famil­iar with the photo stu­dio Ath­letic Model Guild will remem­ber that many of their pub­li­ca­tions, Physique Pic­to­ri­als, included sort of horoscope-looking cryp­tic sym­bols next to many mod­els’ bios. No expla­na­tion was given within Physiqe Pic­to­r­ial for these sym­bols and should a cus­tomer inquire to their pur­pose, he was often told they were for AMG’s own record-keeping.

How­ever, if a cus­tomer con­tin­ued to be on AMG’s mail­ing list for a some time and AMG became some­what assured that the patron was not a cop, he was sent a copy of the leg­end, called “Sub­jec­tive Char­ac­ter Analy­sis”. The word­ing of the leg­end is dubi­ous and reads as some Jun­gian personality-test mumbo-jumbo which, in itself, is inter­est­ing enough. One only has to read between the lines, though, to under­stand the real mes­sage, ie: the size of the dick under those pos­ing straps, whether the model was gay or straight, what exactly he was will­ing to do for money, etc.

Most of the infor­ma­tion was based on the photographer’s inter­views while pho­tograph­ing the model as well as gos­sip pro­vided by asso­ciates and acquain­tances. (One assumes it was prob­a­bly a very SMALL world).

The rea­son­ing behind pre­sent­ing the infor­ma­tion in such an arcane and guarded way was, sim­ply, so it’s real intent couldn’t be proved in court. Remem­ber, this is a time when pos­ing straps and wrestling were as close to nudity and sex that one could legally pub­lish. As secre­tive and furtive as AMG tried to be with this infor­ma­tion, though, the firm was once closed down by author­i­ties as being a front for an escort/hustler ser­vice — purely based on the exis­tence of these Char­ac­ter Analy­sis codes.” (Taken from Monte Han­son)

More & More info.

Fireworks (Kenneth Anger, 1947)

In Fire­works are released, all the explo­sive pyrotech­nics of a dream. The inflam­ma­ble desires, damp­ened by day under the cold water of con­scious­ness, are ignited at night by the lib­er­tar­ian matches of sleep, and burst forth in show­ers of shim­mer­ing incan­des­cence. These imag­i­nary dis­plays pro­vide a tem­po­rary relief.

FIREWORKS was first pub­licly screened in a ver­sion with no open­ing titles. A title sequence and nar­rated pro­logue were later added. In 1966 Anger exhib­ited a ver­sion with hand-painting, the only copy of which was sub­se­quently lost in a fire. A later ver­sion fea­tured a new title sequence and was printed with a blue cast.

UCLA has pre­served the first two release ver­sions in 35mm from sur­viv­ing early 16mm prints, and is pre­serv­ing the final ver­sion in 16mm from the recon­structed 16mm color and black-and-white A/B rolls.

This print is the ver­sion con­tain­ing Anger’s prologue.

UCLA Restora­tion com­pleted 2006.

The Alchemists of Sound

The BBC Radio­phonic Work­shop, one of the sound effects units of the BBC, was cre­ated in 1958 to pro­duce effects and new music for radio, and was orig­i­nally closed in March 1998, although much of its tra­di­tional work had already been out­sourced by 1995.

The BBC’s Radio­phonic Work­shop was born out of a desire to cre­ate ‘new kinds of sounds’. Alchemists of Sound looks at this cre­ative group from its incep­tion, through its golden age when it was sup­ply­ing music and effects for cult clas­sics like Doc­tor Who, Blake’s Seven and Hitchhiker’s Guide To The Galaxy, and charts its fad­ing away in 1995 when, due to bud­get cuts, it was no longer able to survive.


Igorrr (aka Gau­tier Serre) is a French com­poser of elec­tronic and acoustic music who mixes gen­res as widely vary­ing as break­core, glitch, baroque, death metal and trip hop among others.

Imag­ine what would be if a church organ­ist goes crazy, learns to growl, mas­ters the wis­dom of work­ing with sound on com­puter, learns to beat drums rhythms in the man­ner of Slip­knot, plays drum machine à la Venet­ian Snares. His favorite musi­cal instru­ments would be Latin gui­tar, he would lis­ten to music of the Mid­dle Ages and his hobby would be to col­lect old records. Have you imag­ined that? Well, Igorrr is some­thing of this kind.” — Dmitry Quarck,

All those beautiful boys; Pimps and queens and criminal queers…

Born ille­git­i­mately
To a whore, most likely
He became an orphan
Oh what a lovely orphan he was
Sent to the refor­ma­tory
Ten years old, was his first glory
Got caught steal­ing from a nun
Now his love story has begun

All those beau­ti­ful boys
Pimps and Queens
And crim­i­nal queers
All those beau­ti­ful boys
Tat­toos of ships and tat­toos of tears

Any­one who hasn’t expe­ri­enced the ecstasy of betrayal knows noth­ing about ecstasy at all.