Arthouse biotech

is a phrase that’s been blowing around in my head since I was in Austin, talking with Otwell and Boyd (which sounds like a great law firm, or a promising wacky misfit information science / buddy-cop pilot)

At /play, where nonsense lives, I wrote this:

Raiding the 21st century

The next step in cut-up culture
Arthouse biotech
Wetwork warhols
Nanobiological burroughs
Performance creationism
Xoological situationism
Some assembly required
Crick, Watson, Double-dee, Steinski.
Intelligent design as artistic statement
Playing god, 5 times a week with 2 matinees
Mashup mammals

Ellis writes tales of the Spidergoat.

Reality is entering the Silver-Age.

If you think it’s been getting wierd around here lately, and I should really be writing reams and reams about bloody tags or something; then tough.

When the going gets wierd – the wierd apply for patents.

Tracks in the city

This is "Ghetto Superstar"
Originally uploaded by blackbeltjones.

This is Pras, ODB and Mya’s “Ghetto Superstar”: a visualisation from Jake Elliot’s PopSketchSeries.

Artists statement:

“this is a series of drawings generated from pop songs. the songs are analyzed note-by-note. at each note, a line is drawn. the angle at which the line is drawn is determined by the pitch of the note and the length of the line is determined by the volume of the note. the result is a series of playful, doodle-like, linear drawings.

Imagine taking music visualisation, mixing in play and embodiment into the mobile realm – mobile music players allowing you to trace your tracks like a demented Logo Turtle through the city.

Joined-up listening – groups and groupies conga together through the streets propelled by a programmatic peer-2-peer pied piper.

Dance Dance Dance Situationist Revolution.

Vib Ribbon Reality…

Man versus robots and cities

Very much enjoyed the video for the new Chemical Brothers track "Believe", which portrays a man in the throws of some kind of mental breakdown, tormented by industrial robots – and the city.


The robot’s lolloping indefatigability gives them an air of menace that is a mix of the raptor, the T1000 from T2, and the rage-victims of 28 days later.


The use of depth-of-field in the shots and colour treatment of the video give it a claustrophobia and feeling of decay I, at least,  associate with the best, most terrifying British sci-fi of the 70s and 80s. Quatermass 4, Triffids, Pertwee in quarries, etc.

UNIT unfortunately doesn’t come to the rescue in this one.


The denouement, after a terriffic chase sequence, sees our antihero’s final downfall not at the claw of the robots, but by the city – as reality (and a 70s op-art concrete carpark) falls apart in psychadelic shards.

The best mini-movie I’ve seen in a while.

More on the directors, Dom & Nic,  the process and details of the CGI here.