FUCK TV

After concluding the now-legendary public access TV series, The Pain Factory, Michael Nine embarked on a new and more subversive public access endeavor: a collaboration with Scott Arford called Fuck TV. Whereas The Pain Factory predominantly revolved around experimental music performances, Fuck TV was a comprehensive and experiential audio-visual presentation. Aired to a passive and unsuspecting audience on San Francisco’s public access channel from 1997 to 1998, each episode of Fuck TV was dedicated to a specific topic, combining video collage and cut-up techniques set to a harsh electronic soundtrack. The resultant overload of processed imagery and visceral sound was unlike anything presented on television before or since. EPISODES: Yule Bible, Cults, Riots, Animals, Executions, Static, Media, Haterella (edited version), Self Annihilation Live, Electricity.

Superstar: The Karen Carpenter Story

The final 17 years of American singer and musician Karen Carpenter, performed almost entirely by modified Barbie dolls.

9/11 Simulation in Roblox Environment

CGI collage short film originally premiered as part of the 'Extinction Renaissance' exhibition at the Loyal Gallery in Stockholm.

Melody

Although Gainsbourg and Birkin had appeared in a string of films since their magnetic collision in Pierre Grimblat’s Slogan, Melody was a bit of diversion from their collaborations since it’s a series of interwoven videos inspired by the Gainsbourgalbum. For '71 it’s a novel concept to bring visual life to an LP, but even more surprising are the short film’s amazing visuals that director Averty crafted using a wealth of video filters, overlays, camera movements and chroma key effects. Averty applies these in tandem with the increasing tone of Gainsbourg’s songs, which more or less chronicle an older man's affair with a young girl. Each song is comprised of steady, sometimes brooding poetic delivery, with refrains timed to the phrase repeats of each song, while Alan Parker’s buzzing guitar accompanies and wiggles around Gainsbourg’s resonant voice. The bass is fat and groovy, the drums easy but steady, and the periodic use of strings or rich vibrato makes this short a sultry little gem.

From Head to toe

Playful and rythmic self-portrait shot on Super 8mm and 16mm. Colored directly on the super 8mm.

Scanning of Modulations

Eye-popping digital moving image work with an equally arresting soundtrack from noise music heavies.

Time Piece

Dislocation in time, time signatures, time as a philosophical concept, and slavery to time are some of the themes touched upon in this 9-minute experimental film, which was written, directed, and produced by Jim Henson. Screened for the first time at the Museum of Modern Art in May of 1965, "Time Piece" enjoyed an eighteen-month run at one Manhattan movie theater and was nominated for an Academy Award for Outstanding Short Subject.

Cremaster 5

Cremaster 5 is a five-act opera (sung in Hungarian) set in late-ninteenth century Budapest. The last film in the series, Cremaster 5 represents the moment when the testicles are finally released and sexual differentiation is fully attained. The lamenting tone of the opera suggests that Barney invisions this as a moment of tragedy and loss. The primary character is the Queen of Chain (played by Ursula Andress). Barney, himself, plays three characters who appear in the mind of the Queen: her Diva, Magician, and Giant. The Magician is a stand-in for Harry Houdini, who was born in Budapest in 1874 and appears as a recurring character in the Cremaster cycle.

Adulruna Rediviva

Dr. Vikström, a scholar of Kabbalah, mysticism, symbology, and dead languages, discovers the lost tome of the "Edda" written by the Icelandic poet and historian Snorri Sturluson. This book not only contains a prophecy about Ragnarok and the awakening of Fenrir, Loki's son, destined to kill Odin, but also how to stop the end of the world. The only way is to discover a man whose future is completely unknown. The chosen one must compose a mystical music and play it on the Organ of Eternity, hidden somewhere in Turin. The magical city par excellence witnesses a race against time, in which eight characters cross paths.

Me envenenas

Moonwalker

This fantastical movie inspired by the music of Michael Jackson features imaginative interpretations of hit tracks from the iconic 1987 album “Bad”.

No Impersonator , Perpetrator

Pounding backbeats beaten by [(Don't Get)] warm[welcomes]th.

What Was It Supposed to Be Like?

Rather pointless, rather stilted, fetid; not what we want us going after.

data-verse 3

data-verse is a data-driven audio-visual trilogy by artist and composer Ryoji Ikeda which marks a two-decade culmination in the artist’s research. The trilogy addresses the layered dimensions of our world, from the microscopic, to the human, to the macroscopic. Through Ikeda’s process, massive scientific data sets have been transcribed, converted, transformed, de/re/meta-constructed and orchestrated to visualise and sonify the different dimensions that co-exist in our world between the visible and the invisible. Each variation immerses visitors in the vast data universe in which we live, capturing hidden facets of nature and the vast scientific knowledge underpinning our existence. This large-scale data-driven trilogy is generated by extremely precise computer programming and features a minimalist electronic soundtrack, harmonised with Hollywood-standard, high-definition, 4K DCI video projections of scientific data onto a large screen.

All this Roughness

An unnamed passer-by is forced to trace a circular route inside an abandoned tram station, facing loss and time. The broken walls act as a channel, transmitting fragmentary, blurred and analogical memories. 

Metaphysics of Sound

Adopting mainly hand contact printing with photographic enlarger, «Metaphysics of sound» started from September of 2006 and completed in July of 2007. With a 35mm soundtrack image, I made a hand-drawn soundtrack on the 16mm film strip. The sounds were made either by directly contact printing the 35mm sound tracks or collaging the scratch images. According to pattern of sound on the 20% blank of 16mm film strip (normally used as space for optical recording), I edited whole image and made structure of film. Hence the margin is a where image is sound, and vice versa. Later, I studied the sound patterns which varied according to the kinds of images used or the concentration of the image, and made various attempts at rearranging the structure of the sound with the image.

How I See Sunsets

A poetic, semi-autobiographical short film of the sun setting over a village, shot from behind the curtains of a small, dimly lit room.

Beatles Electroniques

Part of a collection of restored early works by Nam June Paik, the haunting Beatles Electronique reveals Paik's engagement with manipulation of pop icons and electronic images. Snippets of footage from A Hard Day's Night are countered with Paik's early electronic processing.

Kinda Cool to Expend This Much Drool

Don't ask me why, but I feel we're about to cry trying.

This Cacophony Runs Over Me

This cacophony runs over me, over everything I see, everything I want to see: it's me.