Archetypally silly beach movie, featuring nobody you ever heard of “and the glamorous, famed dancing Watusi girls from Hollywood‘s famed Whiskey a Go Go nightclub!”
Hip chicks are shaking
in the knees
because there’s a MONSTER on the beach!!!
Music by Frank Sinatra, Jr.
If you see this ghoul, play it cool.
Yeh, yeh, yeh, this one will kill you!
Seriously, you MUST watch this till the FurryFrankie sings. If you weren’t screaming before, this will do the trick.
I can’t say it any better than the copy on the site. It’s an art music video made by pixillating porn video footage and using an algorithm to convert the movements (and thus the changes in pixels) to music. This is possibly the most beautiful video I’ve seen on YouTube; the only thing even close is the Bleat and the Monkees “She Hangs Out” psychedelia.
In whcih pixelated pornography is turned into lyrical piano music…..
The concept of a correlation between sound and vision goes back to antiquity. One starry night on the island of Samos Pythagoras stood contemplating the skies, to him he very rhythm and motion of heavenly bodies in their orbits appeared to him as if governed by a cosmic harmony, a carefully choreographed sequence, the music of the spheres.
Renaissance artists such as Leonardo da Vinci produced sophisticated spectacles for court festivals that fused music and colour. In 1760 Father Castel constructed an Ocular Harpsichord or as he described it a ” harpsichord for the eyes”. Castel‘s machine was a normal harpsichord above which were 60 small windows, each with different coloured-glass and a small curtain. Each time the player depressed a particular key, the relevant curtain would rise to show a burst of colour.
In the next two hundred years many new instruments for combining light and sound were built. The British painter A. Wallace Rimington developed a Colour Organ which provided a moving light accompaniment to the 1916 New York premiere of Scriabin’s symphony Prometheus: A Poem of Fire. Scriabin had scored not only the music but also the precise colours he wanted to accompany particular passages.
Such colour music forms the conceptual starting point forFleshtones, a piece for extreme pixelated porn and auto generated accompaniment. Footage from webcams and other online sites is broken down into a simple tableau of colour bands, at times rather like the paint charts one might find in a DIY store. Given the subject matter this palette is either predominately pink or coffee coloured thus producing a sequence of flickering fleshtones. Using the wonders of max/msp/jitter these Fleshtones are turned into lyrical piano music that rises in falls in response and exact correspondence to the onscreen movement. The motion of earthly bodies thus is transformed into something of beauty, harmony and contemplation.
Self-censorship is the most dangerous and insidious kind of censorship, as well as the most risible. Here we see a perfect example of a snake swallowing its own tail and vanishing in a puff of laughter.
BoingBoing reports that the British government, as part of an initiative to encourage and demonstrate connectivity and technological sophistication at a deep level in public service, has posted a video to YouTube. Well bully for them.
UK government censors YouTube vid it posted itself
The UK cabinet office has censored a video that another branch of government had previously posted off of YouTube — ironically, the video was about how the government could be more coordinated:
A video called Transformational Government can no longer be viewed on the site, instead users get a box of red text stating: “This video has been removed at the request of copyright owner COI Television because its content was used without permission.”
COI Television is actually part of the Cabinet Office and the further irony of the video being about transformational government was not lost on one critic.
A spokesman for independent body Public Sector Forums, told silicon.com: “The COI is part of the Cabinet Office. So it looks like the Cabinet Office’s initiative has fallen at the first hurdle and ironically, it’s thanks to a lack of joined-upness between parts of its own ministry.” LINK
May I just note the fact that we already have a word, “connectedness,” which not only expresses the same thought as the expression “joined-upness” but also sounds far less like it came from someone taking remedial breathing class for the second time.
For those who love to slow down to look at traffic wrecks, here is the link to the dead YouTube. Nobody cared enough to stick it on GoogleVids; I checked. For those of you who prefer to watch wrecks in progress, here is the remaining video in the series. The clock is obviously ticking on this one, though, so get your chewy, bureaucratic joined-upness while it’s hawt!
amusingly, Mistress Cowfish reports that the first trailer has been, you guessed it, censored.
So I added a second, below it. Just scroll respectfully past the corpse…
This Film Is Not Yet Rated asks whether Hollywood movies and independent films are rated equally for comparable content; whether sexual content in gay-themed movies are given harsher ratings penalties than their heterosexual counterparts; whether it makes sense that extreme violence is given an R rating while sexuality is banished to the cutting room floor; whether Hollywood studios receive detailed directions as to how to change an NC-17 film into an R while independent film producers are left guessing; and finally, whether keeping the raters and the rating process secret leave the MPAA entirely unaccountable for its decisions.
Sounds like my kind of film! Not only does the Motion Picture Association of America censor the films, it censors its own identity, in that the censors themselves are carefully hidden from public view. Now that prison executioners are all out, the MPAA censors could well be the most seceretive Star Chamber in the United States.
Naturally, the MPAA claims it hides its people to protect them from undue public influence. But what about due public influence? They are serving, after all, a public here, a public which has very different standards of decency and outrage than their grandparents did. If you think about it, the sole innovation the MPAA rating system has offered in the past 40 years is the NC-17 rating, which was about as welcome at a producer’s meeting as a big, steaming mug of hemlock. Surely someone should be held accountable? Why the Bene Gesserit treatment? Do their powers vanish if they’re seen? Do they disintegrate in sunlight, or (given that it’s Hollywood) melt in water?
By making them invisible, the MPAA has made their censors unaccountable and, thus, irresponsible. Only by making people’s decisions effect their reputations, and by connecting their reputations to their identity, can we have a functional system. The censors are dehumanized and isolated from the community by the system designed to protect them. Without the possiblity of consequences reflecting actions, what we have is not an anarchy but a fascist system, and the only cure for that is revolution.
When director Kirby Dick wanted to learn the identities of the most secretive group in the film industry, he resorted to a time-honored Hollywood tradition. He hired a private eye to follow them and go through their garbage…
Dick argues that the process amounts to censorship because it forces filmmakers to tone down — maybe even gut — their works rather the incur the wrath of the Motion Picture Association of America‘s ratings board…
Dick said he did nothing illegal in hiring his own investigator and filming her at work, scenes that help form a dramatic arc in his production.
“That was the only way I could get their names. They have been kept secret for nearly 30 years. If what they are doing is in the public interest, then the information about who they are should be public.”
His film got NC-17, by the way, so he told them to fuddleduddle themselves and released it unrated, which will be good for PR if not for bums in seats.
Self-censorship is the most dangerous and insidious kind of censorship, as well as the most risible. Here we see a perfect example of a snake swallowing its own tail and vanishing in a puff of laughter.
raincoaster 