Ragg It

From "The Grapes of Wrath":
"And the great owners, who must lose their land in an upheaval, the great owners with access to history, with eyes to read history and to know the great fact: when property accumulates in too few hands it is taken away. And that companion fact: when a majority of the people are hungry and cold they will take by force what they need. And the little screaming fact that sounds through all history: repression works only to strengthen and knit the repressed."
"How can you frighten a man whose hunger is not only in his own cramped stomach but in the wretched bellies of his children? You can't scare him--he has known a fear beyond every other."
http://en.wikipedia.org/wiki/The_Grapes_of_Wrath

http://en.wikipedia.org/wiki/John_Steinbeck

13 Lakes:
http://www.youtube.com/watch?v=TKwhBk4d7M0
http://www.youtube.com/watch?v=ZlXhb9SAap0
http://www.youtube.com/watch?v=offsnpJ7Gwo

Ten Skies:
http://www.youtube.com/watch?v=4aIrfuptR6c

Utopia:
http://www.youtube.com/watch?v=jT4xyD2-5zA

Segobi:
http://www.youtube.com/watch?v=8im2__5kkko

Landscape Suicide:
http://www.youtube.com/watch?v=jblQHNK6Xus

http://www.cinema-scope.com/cs34/int_peranson_benning.html

I have an interest in exploring space-time relationships through film. There's real time, and there's how we perceive time. Time affects the way we perceive place. That's where I get this idea of “looking and listening”. In my films, I'm very aware of recording place over time, and the way that makes you understand place. Once you've been watching something for a while, you become aware of it differently. I could show you a photograph of the place, but that doesn't convince you, it's not the same as seeing it in time. I'm very interested, now, in how much time is necessary to understand place.
...
Consideration of audience is not a part of it because, to me, the interest shouldn't be determined by audiences – it should be by myself, to understand the concept and then the audience can work out how they interact with it. My films ask you to look around the frame, and at the frame, and have a different experience to the one you're probably used to from TV or Hollywood. If we see things being signposted all the time…we become lazy, we become dominated by the filmmaker instead of having room to move.
I'm interested in the spatialisation of time. And the temporalisation of space! (laughs).
If we come to expect that every few seconds we're going to be signposted to another piece of space, then we're not going to be able to read longer images.
http://archive.sensesofcinema.com/contents/04/33/james_benning.html

http://www.canyoncinema.com/B/Benning.html

http://www.jigsawlounge.co.uk/film/benningfull.html

http://www.filmmakermagazine.com/archives/online_features/tortured_landscapes.php

http://en.wikipedia.org/wiki/James_Benning_(film_director)

http://www.youtube.com/watch?v=JTHEsPOzzYo

http://www.youtube.com/watch?v=JTHEsPOzzYo

Ragg It

Unusual Deaths

The Nedelin Catastrophe

NASA's Alien Anomalies caught on film - A compilation of stunning UFO footage from NASA's archives

Olaf Breuning

Galvanic Vestibular Stimulation

Junji Watanabe

Moongoose

Kenneth A. Huff

Leonardo da Vinci

William K. Black

John Steinbeck

Kohei Asano

Petr Závorka

Jakub Nepraš

James Benning

Glitch Art

compositeclub.cc

Julian Oliver

Interactive Mirrors

Daniel Rozin

David Rokeby

Paper Console

Pixel Bleeding/Datamoshing

Takeshi Murata

Julius Popp

31_rvngmx6ten_cover.jpg

asifpulledbyamagnet.com

Ninja Dog

Mark Essen

Cindy Sherman

Misaki Kawai

Keren Cytter