This is this fourth installment of T0p5: a DINCuratorial series featuring guest participants that curate five embeddable internet videos.
This installment is DINCurated by Chris Cuellar, a LA-based artist:
Chris Cuellar (artist, LA) likes to work with writing, sound, performance & digital media. Topics include but are not limited to the politics of presence, the distribution of information, skeuomorphs, and acceleration. Chris has also published numerous volumes on Lulu, including an early collection of spam poetry and the entire Facebook public directory, circa Summer 2010 (ongoing). He has worked and performed for the Austin New Music Co-op in Austin, TX; the Sullivan & Betty Rymer Galleries; the Hyde Park Art Center & the Red Rover Reading Series in Chicago; Diapason Gallery in Brooklyn; and the Art:21 blog. He has also provided technical assistance for Project Cabrini Green and served as associate editor for the online literary journal, Dear Navigator. You can visit his website (occupied), follow him on Twitter and/or Key Party with him on Facebook.
Below is a written introduction by Chris Cuellar supporting his five selections.
“If we think of Youtube as a utility, as essential to modern life as electricity or sewer systems, it’s worthwhile to think about how people are putting it to use, or “misuse.” Youtube ends up being a lot of things at once: inexhaustible archive of the everyday, the future of TV, the world’s largest and most accessible pirate radio station. Some of the most boring videos ever made are actually just disguised audio uploads, with incidental visual components (such as an album cover, or animated text) tacked on for the sake of utilizing at least some of the video file’s moving-image functionality. In the most stark and literal cases, these “music videos” will simply depict the physical context in which the audio content was ripped and uploaded. Static shots of vinyl records spinning on turntables – these are my favorites.
It’s a bit bland these days to speak of the Benjaminian aura in the context of art objects, maybe less so in the context of outmoded consumer electronics. The nostalgia for these defunct commodities, for the forms of culture they engendered and represent, is so intense that people find it necessary to produce short (sometimes long) films that simply depict them while in operation; to attempt to capture some of the defunct commodity’s physical aura, to share it and propogate it via the online ether, to keep it circulating. Video worship of our technological ancestors. The old tries to live on immaterially in a 360p FLV or MP4 video clip. Ghosts are real in the way that our minds are real.” — Chris Cuellar
(actual records not shown)
Uploaded by John Baldessari. Or Jack Goldstein.
Uploaded by Kenneth Anger.
“This is just a test. YT upload changes the sound quite a bit. The P1 does pretty good with less than perfect vinyl as in this case. Crackly, but the details come through nice when it gets busy. Live sound camera mic. This probably won’t be a real accurate portrayal.”
One of my own contributions to the film genre. Filmed in the summer of 2010, starring the Doors album “Waiting for the Sun,” Numark portable turntable, and my plants (miss you, boos!)