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Merch Mulch (2017) from Claire Hentschker on Vimeo.

Merch Mulch (2017) 360 Video - Click and Drag to Rotate Music by R. Luke Dubois.

A three-dimensional photogrammetric amalgamation of abandoned shopping malls, digitally reconstructed from youtube videos taken prior to the sites’ destruction.

Thanks to the Frank-Ratchye STUDIO for Creative Inquiry for supporting this project.

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Hi Stranger from Kirsten Lepore on Vimeo.

It's been a while...

Written, Directed, and Animated by Kirsten Lepore Voice by Garrett Davis Final Sound Mix by David Kamp Thanks to: Dan Kwan Kent Osborne Late Night Work Club

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welp

are you going to start paying Drew more now that he's famous so he doesn't leave you for a better paying gig on the internet? there's no famous like internet famous, you know.

I’ll have to reach out to his agent and see what their new asking price is. Hopefully we can match!

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Farm Wisdom (MBMBaM Animated) from Clara Horst on Vimeo.

This is a 48-hour film created by Clara Horst and Ena Kim! The audio is from My Brother My Brother and Me episode 158. This year the theme for our 48-hour film challenge was 'bunny', so we were glad we could find a MBMBaM bit to use! :)

credits: Visuals and puppets: Ena Kim: ena-kim.tumblr.com Clara Horst: icosa.tumblr.com Audio: Good ol' Justin, Travis, and Griffin McElroy: maximumfun.org/shows/my-brother-my-brother-and-me

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I hate living in Texas.

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FITC Toronto 2016 Titles from FITC on Vimeo.

It's Time to Level Up

Your skills, your connections, your passion: take it all to the next level with FITC Toronto 2016 – a three-day professional celebration of the best the world has to offer in design, web development, media and innovation in creative technologies. It’s a conference that both unites and transforms the industry – assembling major leaders and players from across North America and the world.

The Premiere Conference Attended by Local and Global Innovators in Creative Technology See full details at FITC.ca/toronto

Client: FITC Agency: Giant Ant Directed by Giant Ant

Producer: Liam Hogan Creative Direction: Jorge R. Canedo Art Direction: Rafael Mayani Additional Design: Jorge R. Canedo, Nicholas Ferreira 2D Animation & Compositing: Jorge R Canedo, Nicholas Ferreira, Shawn Hight, Matt James, Max Halley Cel Animation: Henrique Barone, Jorge R. Canedo, Jay Grandin 3D Modelling & Animation: Nicholas Ferreira, Matt James, Conor Whelan, Shawn Hight Music & SFX: Antfood

FITC Toronto 2016 speakers include Adam Cutler, IBM Cloud Adrià Navarro, Red Paper Heart Alon Chitayat, Animishmish Creative House Ana Serrano, CFC Media Lab Anton McConville, IBM Anton Repponen, Anton & Irene Ash Thorp, ALT Creative Inc. Blair Renaud, IRIS VR Inc. Bob Heubel, Immersion Corporation Branden Hall, Automata Studios Brendan Dawes, Singleman Catt Small, SoundCloud Chrys Wu, MacDiva Claudia Chagüi, Fake Love Craig Fitzpatrick, PageCloud Daniel Scheibel, Red Paper Heart David Allen, Allen Tattoo David Lehman, HUSH David OReilly, David OReilly Denis Lirette, Globacore Elli Raynai, Cinehackers Eric Boyd, Sensebridge Eric Decker, Firstborn Gary Baseman, Hotchachacha, Inc. Giorgio Natili, McGraw Hill Education Graham Churchill, IBM Canada Ltd Greg Hermanovic, Derivative Haris Mahmood, Shopify Helen Androlia, Gravity Partners Ltd. Holly Knowlman, Stupid Magazine Irene Pereyra, Anton & Irene Ivan Cash, Cash Studios J Lee Williams, OccupiedVR James White, Signalnoise Jared Ficklin, argodesign Jason White, Leviathan Jay Grandin, Giant Ant Jean-Philippe Côté, Collège Édouard-Montpetit Johnny Cupcakes Keetra Dean Dixon Kim Alpert, DCI Artform Lance Weiler, Columbia University Digital Storytelling Lab Liam Oscar Thurston, TWG Lola Landekic, Art of the Title Louis Lazaris, SitePoint Mark Rigley, Fuel Youth Markus Heckmann, Derivative Matt DesLauriers, Jam3 Maya Bruck, Etsy Michael Muller, MULLERPHOTO Mikko Haapoja , Jam3 Mr. Bingo Nicholas Felton, Feltron Nick Van Weerdenburg, Rangle Paige Raynes, Immersion Corporation Paul Pattison, Relish Interactive Paul Trani, Adobe Pearl Chen, Karma Laboratory Rami Sayar, Microsoft Canada Richard Blakely, Influxis Rob McDiarmid, Konrad Group Ron Edelen, Myjive Ron White, Firstborn Ryan Christiani, HackerYou Sabaa Quao, Newsrooms Sarah Groff-Palermo Sophi Kravitz, MIX-E Stacey Mulcahy, Microsoft Stefan Grambart, Secret Location Stephen Martell, Current Studios Steve Tam, Snips Tanya Collier MacDonald, Orenda Titus Blair , Dolby Laboratories Trevor Haldenby, The Mission Business Varun Vachhar , Rangle.io Will Perkins, Art of the Title Wilson Brown, Antfood Yulia Vasilyeva , Intelocate Zander Brimijoin, Red Paper Heart

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† Carpenter Brut † TURBO KILLER † Directed by Seth Ickerman † Official Video † from SETH ICKERMAN STUDIO on Vimeo.

Written & Directed by Seth Ickerman Produced by Seth Ickerman & No Quarter Music by Carpenter Brut (facebook.com/carpenter.brut)

STARRING Joëlle Berckmans Noémie Stevens Guillaume Faure Marc-Antoine Frédéric

CREW Line Producer: Seth Ickerman Production Manager: Aimée Merlandt Make up and hair designer: Florence Rodriguez Visuals Effects: Seth Ickerman Director of Photography: Philip Lozano Assistant Camera: Malek Krimed Gaffer: Arthur Benoist Grips: Emmanuel Vicarini, Guilhem Monceaux, Lise Rozé Manager: Alexis Perrin

SPECIAL THANKS RVZ Evelyne Madaoui Samuel Renollet Fred Lambardo Philippe Guillemain Julien Thiry Marcin JP Matteo Lovadina Mathieu Leblanc Quentin Ameziane Vincent Ricavy Jean-Jacques Neuer Jean Marc Daste Studio de L'Olivier (Yves Boujenah & Djamel Ferrag)

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HOLORAMA: An Optical Theatre from Jeff Desom on Vimeo.

Created by Jeff Desom Models by Oli Pesch

More Info: jeffdesom.com/holorama

Inspired by the great tradition of optical theatres, Holorama brings several iconic scenes from the history of cinema back to life. From Twin Peaks to The Big Lebowski, Holorama gives these famous scenes a third dimension using a simple holographic process based on a semi-transparent screen, mixing the image of an extremely faithfully built model with the characters extracted from the original scene. A new perspective and a tribute to cinema, accessible to all.

Music: Vanessa - Bernie Wayne/Hugo Winterhalter Adonai - Ennio Morricone

Thanks To: Alexis Juncosa & Gladys Lazareff - Luxembourg City Film Festival Florence Thurmes - Rubert Schuman Art Prize CNA Luxembourg Raoul Henri

Inspired by Charles-Émile Reynaud’s Pantomimes Lumineuses (1876)

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Super Mario Bros. 3 Demo (1990) from john romero on Vimeo.

This is a demo of IFD's (soon to be id Software) Super Mario 3 demo created for Nintendo on the PC. The demo was completed on September 28, 1990.

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Pukekos TV - #43 from BJ Rubin on Vimeo.

Grimes - Flesh Without Blood Chairlift - Ch-Ching Neon Indian - Slumlord Rising Die Doraus Und Die Marinas - Fred Vom Jupiter Eleanor Friedberger - False Alphabet City Michel Polnareff - Love Me, Please Love Me

Produced by BJ Rubin

Thanks to Lauren Martin, Grimes, Gabe Spierer, 4AD Records, Beggars Group, Chairlift, Jake Friedman, Marley Harmon, Patrick Karnik, We Are Free, Columbia Records, Neon Indian, Pam Garber, Leg Up! Management, Tim Nackashi, Mom + Pop Music, Dr. Eric Josephson, Die Doraus Und Die Marinas, Ata Tak, DPA, Eleanor Friedberger, Frenchkiss Records, Ella Romaine, Michel Polnareff & Disc'AZ

Original Airdate - 12/1/2015 on MNN4 in Manhattan

©2015 Dick Move Productions

pukekos.org

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Slowly Rising from kanahebi on Vimeo.

Official music video for BEATSOFREEN ­” Slowly Rising”

directed by Hideki Inaba vimeo.com/kanahebi tumblr.com/blog/kanahebi1783

mastered by Matthewdavid leavingrecords.com

more from Beatsofreen soundcloud.com/beatsofreen kingdeluxe.ca/beatsofreen

"Slowly Rising" is included in album Full Circle by King Deluxe kingdeluxe.ca vimeo.com/channels/kingdeluxe

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"Slowly Rising" suggested to me the image of the sun.

A seed was born beneath the sun, the source of all existence. The seed absorbed the light. It created more seeds like itself, gradually increasing in number.

Time passed, but still their numbers slowly continued to rise, and before long they were quietly swallowed up by their own shadows.

After everything that had lived had perished, nothing but an empty world remained. There, once again, an environment where the next living things could grow silently began to spread.

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Paramore- Still Into You from vov4001 on Vimeo.

Paramore- Still Into You

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Paramore- Still Into You from vov4001 on Vimeo.

Paramore- Still Into You

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Extension cord lamp kit

Here’s Craighton Berman’s DIY Extension Cord Lamp Kit from the Makers Market: coil an extension cord around the laser-cut acrylic frame and presto, instant lamp!

Read the rest…

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Why we're still talking about Terminator and the Matrix

My July 2015 Locus column, Skynet Ascendant, suggests that the enduring popularity of images of homicidal, humanity-hating AIs has more to do with our present-day politics than computer science.

As a class, science fiction writers imagine some huge slice of all possible futures, and then readers and publishers select from among these futures based on which ones chime with their anxieties and hopes. As a system, it works something like a Ouija board: we’ve all got our fingers on the planchette, and the futures that get retold and refeatured are the result of our collective ideomotor response.

Today, wealth disparity consumes the popular imagination and political debates. The front-running science fictional impossibility of the unequal age is rampant artificial intelligence. There were a lot of SF movies produced in the mid-eighties, but few retain the currency of the Termina­tor and its humanity-annihilating AI, Skynet. Everyone seems to thrum when that chord is plucked – even the NSA named one of its illegal mass surveillance programs SKYNET.

It’s been nearly 15 years since the Matrix movies debuted, but the Red Pill/Blue Pill business still gets a lot of play, and young adults who were small children when Neo fought the AIs know exactly what we mean when we talk about the Matrix.

Stephen Hawking, Elon Musk, and other luminaries have issued pan­icked warnings about the coming age of humanity-hating computerized overlords. We dote on the party tricks of modern AIs, sending half-admiring/half-dreading laurels to the Watson team when it manages to win at Jeopardy or randomwalk its way into a new recipe.

The fear of AIs is way out of proportion to their performance. The Big Data-trawling systems that are supposed to find terrorists or figure out what ads to show you have been a consistent flop. Facebook’s new growth model is sending a lot of Web traffic to businesses whose Facebook followers are increasing, waiting for them to shift their major commercial strategies over to Facebook marketing, then turning off the traffic and demanding recur­ring payments to send it back – a far cry from using all the facts of your life to figure out that you’re about to buy a car before even you know it.

Google’s self-driving cars can only operate on roads that humans have mapped by hand, manually marking every piece of street-furniture. The NSA can’t point to a single terrorist plot that mass-surveillance has disrupted. Ad personalization sucks so hard you can hear it from orbit.

We don’t need artificial intelligences that think like us, after all. We have a lot of human cognition lying around, going spare – so much that we have to create listicles and other cognitive busy-work to absorb it. An AI that thinks like a human is a redundant vanity project – a thinking version of the ornithopter, a useless mechanical novelty that flies like a bird.

We need machines that don’t fly like birds. We need AI that thinks unlike humans. For example, we need AIs that can be vigilant for bomb-parts on airport X-rays. Humans literally can’t do this. If you spend all day looking for bomb-parts but finding water bottles, your brain will rewire your neurons to look for water bottles. You can’t get good at something you never do.

What does the fear of futuristic AI tell us about the parameters of our present-day fears and hopes?

Read the rest…

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