Category Archives: art

ASHLEY/AMBER screening in Williamsburg this Sunday, 7/14

This may be the last time Ashley/Amber screens at an actual movie theater! And in Williamsburg no less — maximum convenience for all you yuppie scum who can still afford to live there (jk I love you pls give me $$ for next movie thnx). Still easy, and $5 beer special, for all you broke proles who live on lesser stops off G & L trains (jk u r yuppie scum too).

Cinema Club Vol. XVIII

CINEMA CLUB PRESENTS

Volume XVIII:
Short Films

Sunday
July 14th

Indie Screen
289 Kent Ave @ S. 2nd st
Doors – 4 PM
Show – 5 PM

$5 tickets
(cash only)
+
$2 Raffle Tickets
–Winner gets 2 FREE tickets to any film at Indie Screen —

Featuring films by:

David Bly
Addison Mehr
Rebecca Rojer
Geroni J
Max Sherwood

HAPPY HOUR 4-5PM
$5 Draft Beers

CINEMA CLUB
cinemaclub.us
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NYTimes notices Warren Mosler

Just noticed that the video I shot of the Modern Money Network’s MMT v. Austrian School debate was linked to in the New York Times. Unfortunately, the article it accompanies, a profile of Warren Mosler, is a bit of a hatchet piece, though no worse than you’d expect from such an outlet. And they published it on July 4, not exactly a day folks are eager to watch a two hour debate on macroeconomics.

Unless you are sympathetic to Austrian economics, I recommend Warren Mosler’s seminar with Stephanie Kelton over the debate for a (less painful) introduction to MMT:

Another good place to start is Mosler’s 7 Deadly Innocent Frauds and Wray’s MMT Primer. As for the supposedly non-existent academic literature on MMT, here is a incomplete but long list.

MASSIVE ATTACK v ADAM CURTIS

So excited for this:

MASSIVE ATTACK V ADAM CURTIS
STARTING IN TWO WEEKS TIME IN MANCHESTER, THEN GERMANY, NEW YORK

The show is a collaboration between myself and Robert del Naja of Massive Attack.

What links us is not just cutting stuff up – but an interest in trying to change the way people see power and politics in the modern world. To say to them – have you thought of looking at it like this?

We’ve used film, music, stories and ideas to try and do this – to build a new kind of experience. The best way we can describe it is “a Gilm” – a new way of integrating a gig with a film that has a powerful overall narrative and emotional individual stories.

The show will be a bit of a total experience. You will be surrounded by all kinds of images and sounds. But it is also about ideas. It tells a story about how a new system of power has risen up in the modern world to manage and control us. A rigid and static system that has found in those images and sounds a way of enveloping us in a thin two-dimensional version of the past.

A fake, but enchanting world which we all live in today – but which has also become a new kind of prison that prevents us moving forward into the future.

Along with Massive Attack the show will star two great singers.

The amazing Liz Fraser

And the wonderful Horace Andy

And some of the music will be surprising – from early Barbra Streisand to Siberian punk from the 1980s.

Here’s a two-dimensional trailer that will give you an idea of what the show is about – and the stories it tells.

MAvAC: guest singers Elizabeth Fraser and Horace Andy announced, plus a trailer from Adam Curtis.

Chris Seefer: “Detecting, Investigating and Documenting Fraud”

Video I shot in 2011 of a lecture by Chris Seefer, an attorney at Robbins Geller Rudman & Dowd LLP — the law firm responsible for collecting the “mountain of evidence” of a massive ratings agencies scandal, as documented in Matt Taibbi’s brutal article The Last Mystery of the Financial Crisis.

via Chris Seefer: “Detecting, Investigating and Documenting Fraud” – YouTube.

Lightworks Console

Wow, this is some serious niche-nerdery but the Lightworks Console is based on a Steenbeck!

Lightworks_Conso_4fc22708b3c29

For the uninitiated, a Steenbeck is flatbed film editor, a massive, glorious mechanical/optical machine used to edit physical film. I used one to cut Ashley/Amber and it was an experience I hope to never repeat but also am bizarrely nostalgic for. Keeping track of 20+ rolls of film and corresponding mag (sound) was a hellish task, but the analog dial for playback/rewind is delightful. Perhaps not a delight I’m ready to pay nearly $3k to replicate, but still very exciting to learn that this exists. Also looks like there are some serious editors who use Lightworks, including Thelma Schoonmaker, Scorsese’s long-time editor.

Lovely interview with Schoonmaker, with a good discussion of film v. digital editing at 22min in.