Nicki Minaj's “Anaconda” becomes protest anthem in India, over Unilever's mercury contamination disaster
Written by Chennai-born rapper Sofia Ashraf and set to Nicki Minaj's “Anaconda,” the video tackles Unilever's failure to clean up mercury contamination or compensate workers affected by its thermometer factory in Kodaikanal. Read the rest
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We would see the hell out of this movie at the drive-in. A wonderful remix by Vulture.
Sumana writes, " As Julie Pagano put it: 'So many 'diversity in tech' efforts are about getting young women into the pipeline; ignore the fact that there's a meat grinder at the end.'"
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You've probably seen Garfield Minus Garfield, a collection of Jim Davis Garfield strips in which Garfield himself has been removed, transforming the strip into a sinister portrait of Jon Arbuckle's descent into irretrievable madness.
But there's a good case to be made for Garfield without Garfield's thought-bubbles as the true standard-bearer for disorienting and unexpectedly great Garfield remixes. With this view, Jon Arbuckle is cast as a man who carries on detailed conversations with a cat, which is arguably weirder than the idea that he's merely wildly hallucinating.
Last August, I posted about a lawsuit brought by Larry Lessig and the Electronic Frontier Foundation against Australia's Liberation Music, who hold the rights to "Lisztomania," a song by the French band Phoenix. Lessig had used brief clips from Lisztomania in a presentation on remix culture, and when the lecture was posted to Youtube, Phoenix Music sent a series of bogus copyright notices and threats to Youtube and Lessig.
Now (unsurprisingly), Liberation has settled, admitting that it was wrong. It has paid a confidential sum to EFF to cover costs and pay for future work defending the rights of people whose work is censored from Youtube by bogus copyright claims. It has also promised to fix the way it polices its copyright.
The best part is the statement released by Phoenix, who were apparently aghast to learn that their label was so reactionary when it came to remixing and fair use. It's amazing to see a band bust out statements like "One of the great beauties of the digital era is to liberate spontaneous creativity - it might be a chaotic space of free association but the contemporary experience of digital re-mediation is enormously liberating."
Click through for the whole thing, it's amazing.
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Here is a video of My Great Ghost, whose remix of "Music in 12 Parts" is the first track on the record, performing an entirely new track using the app.
"A giant planet with a liquid interior full of liquid beef and pork, into which a thousand earths would fit."
Darren Cullen of Spelling Mistakes Cost Lives and friend Mark Tolson edited together this 'lost episode' of Carl Sagan's Cosmos, about a fabled Meat Planet, with details of its famous pork volcano, Mount Sustenance, "well-known to astronomers since the time of Galileo."
If NASA would focus on the important planets, the delicious bacon-y ones like this, perhaps we'd have a real future in space exploration. Astronomy-gastronomy!
In the tradition of The Shining re-cut to look like an uplifting comedy, comes this music video, which repurposes scenes from several movies—most prominently 2001: A Space Odyssey—to tell the story of a misunderstood computer that accidentally hurts the ones it loves.
The song is "Limited" by Jascha. The video was created by my friend John Pavlus (who has also made some cool films about entropy and the Antikythera Mechanism). He says:
It seemed like a fun challenge to take images that have acquired so much "baggage" over the years — like the glowering cyclops eye of HAL from 2001, which has become visual shorthand for "evil machine" — and try to attach completely opposite emotional associations to them. What if something like HAL wasn't evil at all, but just misunderstood in its intentions, like a puppy who plays too rough with its owner? That's exactly the image that Jascha's plaintive refrain in "Limited" put into my head. Remixing material from five very different films creates a necessarily impressionistic approach to telling a story, so maybe the story this video tells in your head isn't the same one that it tells in mine. Either way I hope it's a good one.
Craig Davis Pinson, a composer who is a Boston Conservatory student, writes in the liner notes for the video embedded above:
This is a set of variations written on the melody heard in the Youtube video Nyan Cat. It is an experiment, in which I tried to find the limits of how far I could transform the melody before it begins losing its identity. The theme is known as Nyanyanyanyanyanyanya!, originally posted by username daniwellP on the Japanese video sharing website, Nico Nico Douga. The Nyan Cat phenomenom has become ingrained in popular culture, and amazes me both in its sheer absurdity and its freakishly colossal popularity. However, fascinating as they are to me, the origins of the theme are not played upon in this composition. Instead, I treated Nyanyanyanyanyanyanya! as pure musical material from which to generate music. The motivation to use this theme came from my repeated viewings of the video, and slowly realizing that it is a strangely alluring melody. Therefore, this is my tribute to Nyan Cat. Credit goes to daniwell-p for creating this theme, prguitarman for creating the gif animation, and saraj00n for joining them. Theme used for non-commercial purposes as per daniwell-P's request.
On a large scale, the work is structured along a simple alternation pattern. The theme and its variations alternate, similarly to rondo form. However, the theme is progressively dissolved, meaning that each time it returns it contains less percentage of the source material. This chipping-away continues until there's nothing recognizable left. In the variation episodes, more tools are employed to change the essence of the theme, especially, pronounced changes of duration, texture, harmonic character, and of the intervallic makeup of the melody. Each of the variations has its own defined character, and they contrast sharply with one another in mood and technique. Despite of the contrast of its sections, the piece exploits a long-scale narrative arc, playing on the contrast between the theme's duration - which remains essentially consistent at each iteration - and the durations of the variation episodes, which seem to grow out of control as their proportions become subverted.
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