[NetBehaviour] Banzai

{ brad brace } bbrace at eskimo.com
Tue Mar 26 15:20:54 CET 2013

[ this message contains no predatory institutional-spam ]

Banzai Films: for a limited time -- free as I make 'em: sudden/short/small mp4 films
loosely based on the japanese tsunami in 2011 -- includes improvised kite-cam
shoreline-imagery with contemporary phased audio pastiche...

latest films:

¥ http://iabrace.com       banzai7-6-11.mp4
¥ http://iabrace.com       banzai6-6-11.mp4
¥ http://iabrace.com       banzai5-6-11.mp4
¥ http://iabrace.com       banzai4-6-11.mp4
¥ http://iabrace.com       banzai3-6-11.mp4
¥ http://iabrace.com       banzai2-6-11.mp4
¥ http://iabrace.com       banzai1-6-11.mp4

2011 banzai films by brad brace:

please download, then view: 176*144 vlc recommended; these
films were all made with a palm-sized $100 camera and
perplexing open-source software; the artist has been refused
corrupt-bogus cultural/institutional funding, employment,
and representation for 40 years; the time has long come to
wash-away this stupidly-obscene feudal arts-system. For
every star-driven enterprise there are corollary benefits
for those who support it and keep their mouths shut. Admit
the truth and have it retched from your complicit corporate
gullets. Criminal institutions who perpetuate the malicious
scam of "art history" shall have their plunder expropriated
and denizen/acolyte perquisites terminated. De-fund the arts
to end the evil global empire.  banzai!

($50 dvd pre-orders include the molecular-recidivist-cultural essay "fire ring
theory" and available through
  http://bradbrace.net/buy-into.html )

~ earlier filmworks include:

"silent innings" are curious little mp4s of a nicaraguan baseball scoreboard made in
2008; fanboat films are short mp4 artworks by brad brace, originally posted on
facebook in 2009 -- wild outboard sax music amid shifting layered imagery inspired
by florida fanboats and columbia river barge traffic -- special bonus collection:
matchbook movies from 1984 (small quicktime movies intended for looped-viewing in a
corner of your desktop) over 87 films in all! http://tinyurl.com/43g8w52
 ($65/dvd lulu or $50 from me)


You cannot politically defy the institutions when all you really wanted was to be
clasped to their bosoms and hope in time to be cherished under the very framework of
oppressive values you are thinking of overcoming. That would be co-optation,
revolution only in the sense of a circulation of elites rather than the extirpation
of the very impulses of elitism.

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most institutional-art of the mediocre-evil-empire remains bound up with sign-play:
it's a meta-art largely dependent on its echoes of past psuedo-radicalism, or
conversely on its witty frisson-laced inversions of orthodox notions of what makes
art edgy, experimental, important... but when art styles finally shed all those
ghost traces of corrupt history and achieve a perfact non-referential blankness, the
past will cease to be a museum or even an archive, and become a simply a set of
resources: materials to be used without reverence or nostalgia... no longer pointing
to the past, art will be ready to reconnect to the world happening beyond the



Western Saharaâ eighth Sahara International Film Festival (known as FiSahara), the
world's most remote film festival, took place in early May this year deep in the
Algerian desert. The festival is located in a refugee camp 130 miles from the
nearest town in the Algeria desert and aims to offer entertainment and educational
opportunities to the refugees as well as raise awareness of a forgotten humanitarian
crisis. The refugees are Saharawiâ from Western Sahara - occupied unlawfully by
Morocco in 1976 - and an estimated 165,000 of them have lived in four camps for over
three decades.


	The liberal idea of an appropriate balance between security and
      liberty is an illusion. The only vision the security paradigm offers us
      - with the pernicious technologies and its perverse logic which grips
      us in a double bind - is an empty, controlled, over-exposed landscape
      from which all hope of emancipation has faded, and where all we have
      left to do is obsessively measure the risks posed to our lives from the
      ever-present specter of catastrophe.

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