We literally cannot imagine life without it. We’re not different from our fathers in that television presents and defines our contemporary world.
Gifted salesmen explain how people are always most vulnerable, hence frightened, hence persuadable, when they are approached solo.
Given that television must revolve off basic antinomies about being and watching, about escape from daily life, the averagely intelligent viewer can’t be all that happy about his daily life of high-dose watching. Joe Briefcase might have been happy enough when watching, but it was hard to think he could be too terribly happy about watching so much.
Digital signals have an advantage over analog signals in that they can be stored and manipulated without deterioration.
In the new millennium, U.S. television will finally become ideally, GOPishly democratic: egalitarian, interactive, and “profitable” without being “exploitative.”
We will, in short, be able to engineer our own dreams.
Make no mistake: we are dependent on image-technology; and the better the tech, the harder we’re hooked.
The Return of the Darkness and Evil
Sluts Of Hell
The Freezing Moon
A Lost Forgotten Sad Spirit
Feeble Screams From Forests Unknown
In Silence I Observe
Bloodlust and perversion
Return of the freezing winds
Fuck the Universe
Total Soul Rape
A Blaze in the Northern Sky
Across the Vacuum
Christraping black metal
Fistfucking god’s planet
Still Reaching For Hell
Let The Day Begin
And Only Silence Remains…
Submit to self destruction
Submit To Self-Destruction
Bleed Suffer Die
Satanic Black Metal in Hell
Cut their Tongue Shut their prayers
Holocaust in Utopia
Dead Cold December
Through Thick Fog Til Death
May Your Void Become As Deep As My Hate
From The Dark Past
I believe in Desecration
Buried By Time And Dust
A grand declaration of war
A time to die
The vortex void of inhumanity
Unholy Forces of Evil
Blacker Than Darkness
The Sun No Longer Rises
The Call of the Wintermoon
Porky Pig and Daffy Duck look particularly cool in this film. Cartoon characters go through different stages in their career. They don’t age but they do mature, and I really like this moment in their evolution.
Because the animation unit did not have access to location sound recording equipment, all of the live-action footage was shot silent. The voices had to be dubbed in later (which is why most of them were dubbed by Mel Blanc except Leon Schlesinger).
The actors act very cartoony, even more than the animated characters. The sets look very cartoony. Perhaps the times were cartoony? Perhaps cartoon cliches were defined in this era, and that might be why at that moment cartoon reality and film reality were not far apart.
Many different confrontations; the artist and his creation, the actor and the producer, rivalry and ambition, the clash of genres, fiction within fiction, different layers of depiction…
Don’t procrastinate… I have to use my time wisely…
Should I blog more or should I blog less? Should I make a new Gif or work on something bigger? Should I make many small works? Do they form a big work together? Should I write more? Draw more? Should I learn to make music? Or should I take a break and not work for a year?
Should I wait for a big idea? Do big ideas happen when you are making little things? Or do big ideas happen when you’re not doing anything? How do you measure the size of an idea?
Born in Amsterdam in 1980, Rozendaal has lived and held exhibitions all over the world, Los Angeles, Berlin, Tokyo and London amongst others. Rozendaal is a leading figure of computer art, he creates highly abstract interactive websites as art pieces and sells their domains as collectibles.
His work has a very strongly defined aesthetic – almost simplistic in its approach but executed with a sharp intelligence. He describes the virtual window of a browser being richer than a window in the real world. Working with transient and disposable media reminiscent of Warhol’s consumable art practice Rozendaal seeks inspiration from modernist paintings and animated cartoons. In the last 10 years he has created a strong web presence and his websites have generated 1.2 million unique visits monthly.
Rozendaal is willing to expose his web artworks as objects of speculation, much like contemporary art pieces exhibited in an art gallery, but internet – his chosen “gallery” – is much more accessible. Though the pieces are exhibited freely on the internet, the artist decided to display at Gloria Maria Gallery an installation consisting of drawings and mirrors. While disarmingly simple, Rafaël Rozendaal’s drawings unfold in complexity through their boldness of concept.
Rafaël Rozendaal lives and works between Amsterdam, Berlin and Rio. He has had solo exhibitions at Sketch, London 2005, Stedelijk Museum in Amsterdam in 2006 and NIMK Nederlands Instituut voor Mediakunst in 2010. Group shows include, The Whitney Biennial 2002, NYC, Neen Demo, Benaki Museum, Athens 2006, Existential Computing, 2007 at The Hayward Gallery, London and Kunsthalle Athena in 2010. He was awarded Rhizome commission for The New Museum, NYC in 2008 and 2010. Rozendaal took part to the File Festival and Rojo Nova Festival both held in Rio de Janeiro, in 2011. He has been also invited to present his work at the DLD 2011 conference, curated by Johannes Fricke in Munich.
Rozendaal is also the founder of BYOB (Bring Your Own Beamer), a series of one-night international exhibitions, soon to be hosted by the 2nd Internet Pavilion during the Venice Biennale, at the prestigious location of the Accademia di Belle Arti di Venezia on the Island San Servolo.