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tom moody


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I have two videos in the upcoming Chicago Underground Film Festival--"Drum Machine" and "End Notes" (w/ jimpunk). Here is the lineup, excerpted from the website:
MOMENTS OF GREATNESS--MUSIC VIDEOS
Friday August 18
9:45 PM
Theater One, Music Box Theater, 3733 North Southport
Chicago Underground Film Festival

Size matters! Don't miss your chance to check this amazing batch of underground music vids on a screen larger than your toenail. These inspired blasts of low budget, highly creative mindf*cks won't soon be forgotten.

And the music's killer.

Videos include:

Bonnie "Prince" Billy--Horses, directed by Braden King

Black Mountain--Druganaut, directed by Heather Trawick

Jason Forrest--Steppin' Off, directed by Jon Watts

ASCII Rock--My Generation, directed by Yoshi Sodeoka

Bobby Conn and the Glass Gypsies--Home Sweet Home, directed by Usama Alshaibi

The Juan Maclean--Give Me Every Little Thing

End Notes, directed by Tom Moody with Jimpunk

Camero Rougue--Blowin' Yer Top, directed by Ben Redgrave

Animal Collective--The Fickle Cycle, directed by Scott Colburn

The Sea Calls Us Home, directed by Anie Simpson and Seth Kirby

Kaada--Thank You For Giving Me Your Valuable Time, directed by Robert Ruiz De Castilla

FFFF's--Sheets, directed by Brian Henry

The Gossip--Standing in the Way of Control, directed by Wyld File

Drum Machine--Tom Moody

The Mai Shi--Vampire Beats

Negativland--Guns, directed by Peter Neville

Jamie Lidell--New Me, directed by Aleksandra Domanovic

Chemical Brothers--Come Inside, directed by Ik-kyeong Kwon

Starter Set--In Can Can Descent, directed by Lindsay Beamish

Dirty Three with Chan Marshall--Great Waves, directed by Braden King

Antony and the Johnsons--Hope There Is Someone, directed by Glenn Fogel
Really proud and excited to be in this company.

- tom moody 8-15-2006 9:34 pm [link] [add a comment]



Thanks to Eyebeam and Rhizome.org* for reblogging the recent post here on Paul Lansky. That writing's been revised a bit, including fixing one unfortunate flub: the phrase "now a kind of parallel universe to the academic camp" in the second paragraph was missing the "the," which made it sound like the post was calling "music department music" camp or kitsch. Some of it is, but not Lansky's. Some more late thoughts on Lansky's essay "The Importance of Being Digital" follow.

A possible contradiction in the essay: Lansky describes in great detail how analog recording errors can mar the pristine perfection of a digital music composition (such errors are called "artifacts," whether analog or digital). He recounts anecdotally, from the bad old days, all the steps involved in transferring a computer music piece of his to vinyl, each of which introduced artifacts. One of his philosophical selling points for digital technology is its ability to make an artifact-free copy, which is then nearly infinitely reproducible on a mass consumption level. (An aside: Lansky's irritability over intrusive sounds explains much about his music, which is remarkably smooth even at its most boisterous.)

Yet while praising the perfect copy Lansky argues for digital music's ability to exploit the "loudspeaker as instrument." In other words, the speaker is not just a window through which a pre-existing sound reality passes. Woofers and tweeters (and the creators who control them) can actively shape and define their own sonic reality. But if that is the case, why is purity of signal such a virtue? Does clarity even exist if no comparison is to be made to a pre-existing sound?

Lansky describes how analog copying procedures carry with them their own history. A grainy xerox of a smudged newspaper image of a black and white photo, for example, tells a story as much as the underlying picture. Setting aside the fact that digital production has its own artifacts, such as the non-stop yodeling of a skipping CD: this "history" can be just as much a part of that "loudspeaker reality" Lansky champions. In other words, it can serve as content to be actively used by the composer, whether through the deliberate introduction of skips and errors into the recording process, or by adding a patina of age or "period" to music, as in the distinctive mellow hum of an old tube amp: a mix of fact and fiction to be sorted out by the listener.

The point of all this being not to challenge Lansky's core arguments but simply to demote "purity of signal" in the pantheon of digital music's virtues, significantly below "ease of copying," manipulatability, and "ability to define its own reality." If clarity has a virtue at all, it is, as Lansky suggests, that it allows infinite cutting and pasting in the composition process without changing the sound in undesired ways due to accumulating artifacts. Being able to create a "richer," "fuller" sound from the rich pallette of prior recorded or previously unrecorded sounds allows the composer to more accurately trigger associations in the listener while at the same time plugging this data into the composition's imaginary patchbay of abstraction and representation.

*Update, 2011: Eyebeam reblog archives are dead. The Rhizome link has been changed to http://rhizome.org/editorial/2006/aug/12/p-lansky-club-vs-academic-electronic-music/. Please note that I authored the post, not Marisa Olson.

- tom moody 8-15-2006 9:09 pm [link] [add a comment]



I've been going back over my YouTube posts from the past few months--a surprisingly large amount are dead links because they've been removed "for terms of service violations" or "by user." Read: people received greasy lawyer letters and got scared. As if some grainy, tiny crap video from the '70s is something anybody deserves to profit from. Amazing how many creative types don't get the viral thing at all.

- tom moody 8-15-2006 10:43 am [link] [6 comments]



Lke Anna Karina's Sweater on Oliver Stone's 9/11 movie:
While it is remarkable that anybody was found alive in [the World Trade Center] rubble (McLoughlin and Jimeno were 2 of only 20), I feel that there's something inherently irresponsible in narrowing the focus in order to create an uplifting, feel-good story. It's as if the film exists in a vacuum, and its refusal to acknowledge facts (both pre- and post-event) is not only naive, but also a bit dangerous. This kind of over-simplification is exactly how Bush & Co. would want you to remember that day. That it was simply an act of 'evil' carried out by individuals who hate our freedom. Is it any wonder that right-wing media outlets are praising the film, or that Paramount hired the same PR firm that brought us the Swift boat campaign against Kerry?
Armond White weighs in, building up the Stone movie by bashing United 93:
After 9/11, hucksters have had a huge opportunity to trick filmgoers who are unable to distinguish the solemnity of recent history from tacky Hollywood manipulation. During United 93, when I laughed at its preponderance of action-movie cliches, a middle-class woman chided me to “Be respectful!” Respectful of what? Clumsy exploitation-film mechanics!

- tom moody 8-14-2006 8:15 pm [link] [add a comment]