Monday, May 17, 2021
Sunday, May 16, 2021
Saturday, May 15, 2021
Friday, May 14, 2021
Thursday, May 13, 2021
Wednesday, May 12, 2021
Tuesday, May 11, 2021
Monday, May 10, 2021
YouTube link: https://youtu.be/v6rba2O_Pgs
Sunday, May 09, 2021
Saturday, May 08, 2021
Friday, May 07, 2021
Thursday, May 06, 2021
Wednesday, May 05, 2021
Tuesday, May 04, 2021
Monday, May 03, 2021
Sunday, May 02, 2021
Friday, April 30, 2021
Thursday, April 29, 2021
Wednesday, April 28, 2021
Tuesday, April 27, 2021
YouTube link: https://youtu.be/YJDa6CzV50Q
Monday, April 26, 2021
Sunday, April 25, 2021
Saturday, April 24, 2021
#Sony_a6400 #Sony_a6400_video_test #50_mm_Sony_prime_lens
Friday, April 23, 2021
Thursday, April 22, 2021
#산무퉁이 카페 #SeoulCafe #Sanmotonggi #부암동
A brief personal video about a cafe in Seoul with a spectacular hilltop view of parts of the original city.
From my collection of ambient and authorial movies. My focus is on videopoetry; however, I work in other genres and art forms as well.
Wednesday, April 21, 2021
Tuesday, April 20, 2021
Monday, April 19, 2021
# Trees #Trees_and_Climate_Change_in_South_Korea
The leaves are almost fully grown in some parts of Seoul -- it's a beautiful sight. But it's also a clear indication of the real-world impact that climate change is having on the seasons here in Korea. It is worth remembering that the Korean Peninsula is a temperate zone, with four distinct seasons including cold winters. But those seasons are changing on a fundamental level.
Shot in Soreapeul, April 18/21.
From my collection of ambient and authorial movies. My focus is on videopoetry; however, I work in other genres and art forms as well.
Saturday, April 17, 2021
Friday, April 16, 2021
Thursday, April 15, 2021
Wednesday, April 14, 2021
Tuesday, April 13, 2021
Sunday, April 11, 2021
Saturday, April 10, 2021
Friday, April 09, 2021
Thursday, April 08, 2021
Wednesday, April 07, 2021
Tuesday, April 06, 2021
Monday, April 05, 2021
Sunday, April 04, 2021
This is the first video I posted on YouTube. It dates to September 2012. At that time, I was extremely green to making videos, and, well, it shows.
Saturday, April 03, 2021
There are several prestigious film festivals that screen videopoems — or, if you prefer, poetry films. Often, these are « author-created » works, meaning that the poet also directed the movie. There is a further specifying of form insofar as some poets create what I term authorial videopoems; that is, videopoems in which one person has created ALL elements of the movie (there is even a form that might fairly be termed the authorial 4MAP videopoem in which the filmmaker/poet works in at least four major art forms: for example, writing, drawing, singing, and directing — again, working by oneself).
Why, however, do we not have entirely author-made video short stories? They exist. I know that because I’ve been making them for years. The problem, in my opinion, lies more at the heart of institutional support. There are no film festivals for short stories that are literary works made (not adapted) as movies. This is particularly true with movies made by authors. Rather, the phrase « short story » is used by filmmakers to denote a dramatic short that, with its focus on character and story arc, has some resemblance to a traditional short story. But really, these are dramatic films based on acting; they are not short movies in which a story is told. They are not storytelling in a video form in which the storyteller is also the filmmaker.
I think it’s time to change that and consciously develop some new art forms that are simultaneously literary and filmic. Above is an early example of that. It’s entitled « Loveography: From Haemi Fortress. »
Il existe plusieurs festivals de films prestigieux qui projettent des vidéopoèmes - ou, si vous préférez, des films de poésie. Souvent, ce sont des œuvres «créées par l'auteur», c'est-à-dire que le poète a également réalisé le film. Il y a une autre spécification de la forme dans la mesure où certains poètes créent ce que j'appelle des vidéopoèmes d'auteur; c'est-à-dire des vidéopoèmes dans lesquels une personne a créé TOUS les éléments du film (il existe même une forme que l'on pourrait appeler le vidéopoème auteur 4MAP dans lequel le cinéaste / poète travaille sous au moins quatre formes d'art majeures: par exemple, l'écriture, dessiner, chanter et diriger - encore une fois, travailler par soi-même).
Pourquoi, cependant, n’avons-nous pas de nouvelles vidéos entièrement créées par des auteurs? Ils existent. Je le sais parce que je les fabrique depuis des années. Le problème, à mon avis, se situe davantage au cœur du soutien institutionnel. Il n'y a pas de festivals de films pour les nouvelles qui sont des œuvres littéraires réalisées (non adaptées) sous forme de films. Cela est particulièrement vrai avec les films réalisés par des auteurs. Au contraire, l'expression «histoire courte» est utilisée par les cinéastes pour désigner un court métrage dramatique qui, en mettant l'accent sur le personnage et l'arc de l'histoire, a une certaine ressemblance avec une histoire courte traditionnelle. Mais en réalité, ce sont des films dramatiques basés sur le jeu d'acteur; ce ne sont pas des courts métrages dans lesquels une histoire est racontée. Ils ne racontent pas des histoires sous forme de vidéo dans laquelle le conteur est aussi le cinéaste.
Je pense qu’il est temps de changer cela et de développer consciemment de nouvelles formes d’art à la fois littéraires et filmiques. Ci-dessus est un exemple précoce de cela. Il s’intitule «Loveography: From Haemi Fortress. »
Friday, April 02, 2021
Thursday, April 01, 2021
This photograph shows construction of the 반포 고속터미날/ Banpo Express Bus Terminal in the 1970s. (The Shinsegae Express Terminal, now next to it, followed much later.) Note the undeveloped fields around it. Not only are these fields now filled with apartment buildings, but many of them are now on their second (or even third) generation. The pace of development in Gangnam, Seoul has not just been staggering, it also raises environmental questions. Some initial thoughts here: https://youtu.be/TQUKN9BsnjAl
이 사진은 1970 년대 반포 고속 터미날 / 반포 고속 버스 터미널의 공사 모습입니다. (지금 바로 옆에있는 신세계 고속 터미널이 훨씬 늦게 뒤따 랐습니다.) 주변의 미개발 분야에 주목하십시오. 이 들판은 이제 아파트 건물로 가득 차있을뿐만 아니라 많은 사람들이 이제 2 세대 (또는 심지어 3 세대)에 있습니다. 서울 강남의 발전 속도는 놀라 울뿐만 아니라 환경 문제도 제기하고 있습니다. 여기에 몇 가지 초기 생각 : https://youtu.be/TQUKN9BsnjA
Cette photographie montre la construction de la gare routière 반포 고속 터미날 / Banpo Express dans les années 1970. (Le terminal Shinsegae Express, maintenant à côté, a suivi beaucoup plus tard.) Notez les champs non développés autour de lui. Non seulement ces domaines sont maintenant remplis d'immeubles d'appartements, mais beaucoup d'entre eux en sont maintenant à leur deuxième (voire troisième) génération. Le rythme de développement à Gangnam, à Séoul, n'a pas seulement été stupéfiant, il soulève également des questions environnementales. Quelques premières réflexions ici: https://youtu.be/TQUKN9BsnjA
Wednesday, March 31, 2021
Tuesday, March 30, 2021
Sunday, March 28, 2021
Saturday, March 27, 2021
Friday, March 26, 2021
Thursday, March 25, 2021
Wednesday, March 24, 2021
Tuesday, March 23, 2021
Alex Good on Peter Vronsky’s American Serial Killers:
This is a thesis Vronsky previously put forward in another serial-killer book, Sons of Cain, but while the specific connections he makes (parental traumas passed down to the next generation plus “rape culture” magazines) aren’t imaginary or wholly speculative, they still strike me as incidental. Most Boomers were spoiled rather than abused, and the mix of sex and violence in the media today are more advanced than anything in the primitive “sweats.” A counter-argument though might be made (indeed has been made) that today we’ve become inured to porn, or that Internet porn in particular has become a kind of mellowing drug for people with violent dispositions. Meaning that the serial killer epidemic might have been a kind of social trauma that we collectively had to go through in order to arrive at our current narcotized, surveillance state.
In any event, while I appreciate the boldness of the argument I think it’s also hard to generalize. Serial killers are a mixed bag. Much is made here of Ted Bundy’s iconic status as the epidemic’s poster boy, the one who would “define for us the new postmodern serial killer.” But Bundy himself strikes me as being highly atypical in most ways.
We are left to wonder whether the serial killer epidemic of 1970 – 2000 will be repeated. Are such phenomena cyclical, or was this a one-off? It’s a pressing question, as Vronsky is concerned at the potential fallout from such crises as the 2008 subprime meltdown, the war on terror, and the COVID-19 pandemic. “We are looking into the abyss of a new American Noir like the one in the 1940s but worse.” I’d agree that the potential is there, as we’ve already seen political and economic institutions straining and beginning to crack. I see the same dark moon rising that Vronsky does, but whether it will produce more of the sorts of lunatics described in these pages is harder to say.
Thursday, March 18, 2021
Happy that my feature-length authorial videopoem Three Tragedies, Four Seasons will get another screening. It was just selected by the Tagore International Film Festival.
Heureux que mon long métrage vidéo poétique Trois Tragédies, Four Seasons obtienne une autre projection. Il vient d'être sélectionné par le Festival international du film de Tagore.*Three Tragedies, Four Seasons*Screenings:Straight Jacket Guerrilla Film Festival 2019Virgin Spring Film Festival 2020Tagore Film Festival 2021*Statement: Three Tragedies, Four Seasons is the result of three projects that came together and merged. One was from a series called World Bardo, which were short ambient pieces or videopoems, and some were about the death of my mother-in-law in the summer of 2018.She passed away in July. It’s a sultry time of year in South Korea, and the sound of insects, the heat, and the humidity suffused everything.The second death was that of my brother — in January, 2013. The weather then was the opposite: frigid and spartan. My brother was fascinated by both summer and winter, especially the bleak, spectral beauty of winter. The final story is a work of fiction — also set in winter. Throughout all these pieces, wanted to capture a feeling of seasonality, and also the sense of the nature/life/death cycles that exist in the world. It’s easy to talk about cycles in an abstract way; after the death of someone you care deeply about, these sensations becomes very profound. The world, the environment, feels like it’s entering you. Intense sadness dissolves us.*Art, text, music, direction: Finn Harvor*YouTube link: Three Tragedies, Four Seasons (take 7)*Trois tragédies, quatre saisons (Three Tragedies, Four Seasons)*À venir au Festival du film Straight Jacket Guerrilla*Déclaration: Three Tragedies, Four Seasons est le résultat de trois projets réunis et fusionnés. L'une d'elles était tirée d'une série intitulée World Bardo, qui consistait en de courts morceaux d'ambiance ou de vidéopoèmes, et certains concernaient la mort de ma belle-mère à l'été 2018.Elle est décédée en juillet. La Corée du Sud est une saison étouffante et le bruit des insectes, la chaleur et l’humidité ont tout envahi.Le deuxième décès est celui de mon frère - en janvier 2013. Le temps était alors opposé: froid et spartiate. Mon frère était fasciné par l'été et l'hiver, en particulier par la beauté sombre et spectrale de l'hiver. La dernière histoire est une fiction - elle se déroule également en hiver. A travers toutes ces pièces, je voulais capturer un sentiment de saisonnalité, ainsi que le sens des cycles nature / vie / mort qui existent dans le monde. Il est facile de parler de cycles de manière abstraite; après la mort de quelqu'un qui vous tient à cœur, ces sensations deviennent très profondes. Le monde, l’environnement, a l’impression de vous pénétrer. Une intense tristesse nous dissout.*Art, texte, musique, direction: Finn Harvor*Lien YouTube: Three Tragedies, Four Seasons (take 7)
Wednesday, March 17, 2021
Tuesday, March 16, 2021
Monday, March 15, 2021
Sunday, March 14, 2021
July 28, 1932. Washington
The sky is a high, mid-summer blue. It has a quality of vast, apparently infinite, peacefulness. Cumulus clouds—as grand as towers—float through the sky, while at ground level the white dome of the Capitol also resembles an immense, majestic cloud.
But also at ground level a demonstration is taking place. A group of World War One veterans moves down a boulevard in one direction while a small group of cavalry backed by a battalion of foot soldiers approaches from the other.
The veterans are mainly dressed in mufti: the neat but inappropriately warm wool trousers of people with only one good pair of pants to wear, white shirts with the sleeves rolled up, or worn-out, shiny jackets. Some are also dressed in doughboy uniforms. But all of them look both impoverished and determined, like a peasant army marching with ragtag determination toward the walls of a royal castle.
Then one of the cavalry's horsemen rushes forward and wades into the crowd. The crowd tries to to stand its territory but almost as quickly pulls back with instinctive fear. The horse rears up, its sweating brown flanks rippling with quivering muscle as the animal's hooves spin dangerously in the air; living clubs. Two or three in the crowd shriek. Behind them, some others call out the demonstration's rallying cry: "Bonus! Bonus!" Then the horse stomps to all fours, its rider yanks the animal's reins, and the demonstrators inch a little farther forward with cautious determination.
To one side of this scene, watching attentively, stands the figure of General Douglas MacArthur. He is impeccable attired in a cavalry uniform, freshly pressed, plumped jodhpurs, and brown riding boots glossed to a fastidious sheen. Next to MacArthur is Major Dwight Eisenhower. He is dressed in civilian clothes: light trousers, a dark jacket and incongruous straw hat. He also looks on the scene taking place attentively, but with some embarrassment. MacArthur, however, is unaware of his aide-de-camp's discomfort; his nostrils, petitely equine, flare with impatience. He calls out to the captain leading the infantry battalion: "You there. Why aren't those troops moving faster?"
The captain calls back, "Sir, they're going as fast as they safely can."
"Don't make them go 'safely.' Make them go."
The infantry advance, their long rifles down, their bayonets forward. In the crowd of demonstrators, individuals—with the bravado of the doomed brave—call out.
"Bonus! A fair bonus for the veteran now!"
"Where's Hoover's heart?"
"We fought for this country! All we're asking for is help at a time of need!"
But the infantry keeps methodically approaching, and when they encounter the first demonstrators, they implacably keep their bayonets at chest level.
A demonstrator, his voice suddenly urgent, cries at the troops, "You brutes! Can't you see there are women and children here?"
The captain leading the infantry battalion says loudly, his tone commanding and bland, "Move on, you people. Move on. Remember, you were in uniform once. Do what you're told. It's for the best."
A man in the background steps to the front of the crowd. He has the hungry, alert look of one who would be either categorized as a troublemaker or hero, depending on one's allegiances.
"The hell we'll take orders from the likes of you! You're just a pawn! Don't you feel any shame? There are veterans here who can barely feed their families! Why don't you think of justice first before you start lecturing others on their duty?"
But the troops are unmoved. And as they continue their advance, the demonstrators are forced to choose between retreat and the feeble defiance of the un-armed which, soon enough, turns to defeat.
A different officer blows a whistle sharply, and second, more aggressive battalion of cavalry move forward. Some of the soldiers, upon reaching the crowd, reverse their rifles and use their butts like truncheons.Behind the foot soldier, also advancing, is a column of tanks. In the midst of them is the figure of George S. Patton. He surveys the crowd for a few moments. Then he says to his crews, "Charge!