Science, in the grand tradition which includes parchment, pigment and hypertext transfer protocol, rides again in service to the world’s great art. The vaunted Google Cultural Institute launched the past few years’ efforts upon the public a couple of days ago with a precious handful of 360° view performances.
We’ve collectively been talking about 360° views since we first freed our necks from shackles in the mythical clay cave described by Plato. We have in the entertainment media business been working decades on turning all the slivers of business into a whole pie. We have every one of us been forever running in circles.
Now the needle drops on the hit record everybody wants to dance to. Somebody screams, “this is *my* jam!” And she’s right, because the artist’s work belongs to everyone. The DJ paid $20 for one of only a few thousand slabs of vinyl, and the partiers paid $20 each to get into the club and, chances are, a healthy number of them even support a subscription model which allows the musician bright round pennies for every mp3 downloaded. What’s most important is that the song — the material crafted over years in the smithy of the artist’s soul from deeply personal experiences cut into chords — resounds in the respective souls of all the individual listeners dancing because it magically tells the story of each one’s own unique path of discovery.
Did you know they made a movie about the book Hitchcock | Truffaut? Hitchcock, who made his bones in the Silent Era before defining a whole set of talkie techniques in use today, reminds us via young Truffaut’s embedding at Universal, “you need space.” How camera and framing decisions play out when the viewer is free to choose midstream between down right and crane remains to be seen. This is what we are exploring at this moment in media history.
Right now I am missing out on an all-day event at MINY on the new science of filmmaking because I am committed at The Explorers Club to having my arms around twelve hours’ worth of new films about science. In our 4th annual Polar Film Festival, jaw-dropping beauty is stirred in with jaw-dropping data.
Vous saviez que Truffaut a vu un film chaque jour? Saviez-vous que Hitchcock a dit que c’est important d’enculer avec l’audience? Alors, c’est a propos de ca qu’on trouve la tomble a survivre de Shackleton retrace’ par snowboardeuse Geraldine Fasnacht avec Luc Hardy.
Pardon my French but it is important for me to talk about fucking with the audience in the context of finding new forms of communion.
You have your own personal reference library of being — I am certain — frustrated by someone’s abandonment of established protocol and then somehow elated by same. See also games journalist Chad Betz’s review of the latest musical recording by Grimes for an explicative non-explanation of the game of soulcatching boundary explosion played between culture and performer. Magic is the sick spin-art of assimilation and reinterpretation, because science.