January 31st, 2010

Bullet Time Soba

“I can’t even begin to imagine how the pitch for this one went.”

I wouldn’t say that I’m easily amused, but there’s just this type of humor that gets me. Be it a kind that’s reserved for those with a couple loose screws, and what some may deem politically wrong, I think the rest of everyone is just caught up trying to stop laughing.

There’s a lot of money in advertising. I’m glad that there’s an increasing number of corporations, brands and the sort, that have a sense of humor. It’s one thing to spend money on something that’s funny, but it takes balls to throw it at the right places, in order to achieve the hilarious.

January 31st, 2010

Consolation Prize

Visvim Patrician ¥60,900

I’m not entirely how they do it. I imagine some sort of Yakuza backing. Men in dark colored suits in equally dark tinted shades and cars. Their only objective, to protect all media data regarding the Visvim AW 2010 collection.

Perhaps formulating conspiracy theories might be jumping the gun here, but one can’t help but wonder. Other than the one of Hiroki Nakamura posing smugly in his tent for Diane Pernet, I’ve seen nothing else online of that private viewing in Paris. It having been days, I’m starting to wonder how tightly tucked that media blanket on the collection was.

Even with the most hush-hush of things, there’ll always be a leak. That’s how liquid media and data is now a day. Its almost unavoidable to keep anything secret. But somehow, five days on the wonderful people working for Visvim have kept everything steadily under wraps.

No Myspace-esque photo of people in the venue. No grainy camera phone renditions of shoes to be released. Nothing. This is leaving me torn, not knowing whether I should feel impatient or amazed.

As a consolation though with things, photos of their SS 2010 collection that is primed for release in the next couple of days is already leaking its way into the internet. A sleeker version of the Virgils, denim-made Abarth Moccasins, and interesting shirts have all got me in a state of.. “that’s interesting, but you wont catch me raving about it just yet.”

On first look, a lot of it doesn’t stir the immediate urge to start writing checks. Not to say that all of it was relatively mundane, but with the first batch of releases, it was pretty darn close to being called that. But as with all collections, there’s always this one piece that just turns it all around.

Brogues have been a growing interest of mine. Possibly an off spring of some drug lord Havana like semiotic, spliced with images of Tommy Gun toting mafiosos, I’ve been wanting to find a pair that fit the bill for me, cue the Patricians photographed above.

Coming finally in all white leather, as any shoe this pretty should, I’m left hopeful and optimistic. Sure, it might take a while before anything Visvim AW 2010 to be leaked, but judging by their SS 2010 releases, it’ll all be more than fine.

January 31st, 2010

Four Twenty Six

Six Days by DJ Shadow. Music video/short film by Wong Kar-wai.

There’s always something about anything Wong Kar-wai that gets me. Maybe its his particular eye for things, or the way he presents a story? I’m not too sure really. But it’s got this unique power to just absorb me. Helpless cow towards alien tractor beam, that kind of sort.

I don’t think I know anyone in my immediate circle of existence that has watch 2046 much as I have. Even that or just successfully making it through without a snooze in between, to float one from one subtitle ridden scene to the next. I remember finals weeks, days where it’d be left on repeat, cycling like a favorite mp3.

Not that this makes me a master on the subject matter. Perhaps all the repeated viewings has just left me more attuned to the Wong Kar-wai of things? A fanatically crazed at how stylized his work is, Its much like stereotypical people in love, blind to each others flaws, as I am to his films.

Nonetheless, I still find any of his works a treat to watch, which leads me back to the video up top. An unusual combo as they come, here’s Wong Kar-wai’s short film slash music video of DJ Shadow’s Six days. A little something to tide you over.

January 30th, 2010

Days Like This

Salary Cat courtesy of Japan.

Wait for train. “Mm, Mount Fuji.” Amazing sale! Goodnight. If only the rest of us could be so fortunate. Simple, cyclical lives. And the ability to look good with only a clip on collar, and a too short tie.

January 29th, 2010

Sandbenders

Augmented (hyper)Reality: Domestic Robocop by Keiichi Matsuda.

Three fourths of the way into Idoru, I’ve always imagined, for the last 38 chapters or so atleast, the words to look a lot closer to a animation. A cross between Cowboy Bebop and one of the Animatrix shorts, the mesh of the two made for the only way I could imagine the near future context William Gibson set the book in.

In it, people would port into something that they still called internet. Version 23.4 of what we have now I’m thinking. Circular video units over eyes, control tips on fingers, they get booted into this alterworld. A sort of GUI representation of all the data we generate, I imagine its how it would look like, if the internet threw up into the real world.

Two finger taps into nothing and suddenly you’d be in Venice. Least that was how it was mapped in a gift your dad gave last Christmas. Pop ups, messages in some sort of visual hierarchy, you turn on the spam filter and instantly more than half disappear, accompanied by a gradual static haze.

It wasn’t such a hard thing to imagine, but what made it the most interesting for me was how possible it was. Even scarier is how this tiny short by architectural student, Keiichi Matsuda, looks exactly like it. Yet at the same time posts no reference to any of Gibson’s work, and in particular Idoru, which almost serves as its identical literary counterpart.

In the middle of this prophetical science fiction deja vu, I’m left to wonder if maybe this is indeed where we’re headed. Aren’t we funny people? Humans. We’ve almost been able to commoditize everything, even the most abstract of things. Up next? Reality.

January 29th, 2010

Visual Comatose

Vanishing Point by Bonsajo. Found via KN.

You could have me keeled over in some sort of graphic induced comatose with visuals like these. Geometrics synced to music distinctly, and lightly Japanese. I’m contemplating the possibility that I’m just a sucker for these rare situations. Tiny blips of media anomalies where my interests seem to accidentally converge all at once.

Bosajo would like to call themselves a “visual performance unit”, one of those new rare occurrences that can only come out of Japan I’m thinking. I’ve had as little as an inkling of what Visual DJing or VJs are. People experimenting with projected graphics on top of a musical performance, a lot of it comes across as very rudimentarily made for me.

Maybe that’s why I’m stuck, playing this on repeat. Clearly the guys working in Bosajo are looking at the bulk of the work that’s being done now in retrospect. A situation that’s a lot similar to us watching monkeys in the zoo I imagine.

Seeing as the visuals are largely geometric, I’m surprised at how soft it comes across. Light as the music is, I find it a lot brilliant. I hope they’re not fashion inclined too, that’d be too much. Not just for me, but for probably the rest of the world.

January 28th, 2010

Seeing Sound

Sweet Disposition (Live) by The Temper Trap via KEXP Radio.

It was a lot like the first time I chanced upon TV On The Radio. A random link to video of a band I’ve been familiar with for a long time, but’ve never quite seen. Music connotes particular visuals. It’s a lot like stereotyping in a sense.

With the number of cues one can pick up from how the band sounds, to the particular accent the vocalist perhaps might have. It’s almost in natural sequence that we next start building an image of how they’d look. Maybe a byproduct of just being online too much or how media saturated we are, but its almost as if we’ve the ability to see sound. Unavoidably at that.

That being said though, the process of what I imagine a band to be panning out to be how they really appear is most often not the case. Like TV On The Radio, I had a pretty clear idea of how The Temper Trap would look. Little did I think that my preconceived look would be a mile off.

Far removed from what I originally thought, but in a good way, it’s a pleasant surprise to see them live. Drowning in the oddly warm falsetto, buried in one layer of guitar after the other, here’s The Temper Trap playing Sweet Disposition, possibly in a way that you’ve never seen them before do.

January 28th, 2010

Reverberate

A New Error by Moderat. Visuals courtesy of whoisrixi.

On the 35th second, that’s where it starts. It almost feels as if its a launching point. A flare suddenly lit in an expanse of darkness, tipping off towards a direction unknown. The blunt impact of the bass, a cue. All else, for this short span of time, wont have to matter.

Listening to this, I find myself suddenly grounded. Contrary to the usual rush, and pace of noise and thoughts in my head, all of that is suddenly crushed under some sort of weight. A rare moment of stillness, before it begins to take me away.

Dubbed the Autobahn track, passengers of mine would know. For me, the sound, always tend to lean to very specific visuals. Largely blue tinged, the occasional contrast of a muted shade of burgundy, a soft wave of red. Things that depict strength and grace of motion, maybe that explains the particular fancy for cars.

I remember vividly moments where I’ve closed my eyes to this, and have met with something very complete, specific. The sky was this very particular shade of blue, an byproduct of Hollywood level color grading, I often associate it with those “the end is neigh” movies.

A car, there was one. Black, old and European, circa the time where they weren’t particularly too far and different from the American ones. It had its top down. Careening through a narrow road, a two lane highway on the fringes of the Mediterranean.

The sun is sitting half mast. Pale and yellow, it makes for a soft red tinge. Ripples of light that seem to reach further and further out, the deeper it wades into the sea.

It didn’t need to go much further than that. I felt that it didn’t need too. For a moment in time, there didn’t need to be any more. The moment was perfect, condensed against a wall of sound.

January 27th, 2010

Premium Label Omen

Hiroki Nakamura and Diane Pernet @ Visvim AW2010 Presentation by Shoji Fujii, via ASVOF.

Visvim is as premium a label as they could possibly come. The brand dictates itself a long a belief that is essentially Japanese to its very core. Sparing no expense to guarantee that each item is made the best imaginable way possible, It’s a very zen like approach that unfortunately makes for terribly high price tags.

Boots for eight hundred dollars, and a flight jacked for a couple hundred over a thousand. Its no wonder that the tug of war of these two factors give the label its own share of cult like fans, and people who think it’s plainly absurd. I though find myself at the unfortunate predicament of falling under the former.

For the fans, I’m sure you’ve seen that interesting interview of Hiroki Nakamura on Youtube. Yes, the one with the husky chain smoked voice as an interviewer and him looking a bit like he’s had a gram too many of hurry-up.

The trademark voice belongs to Diane Pernet of the highly popular fashion blog, A Shaded View on Fashion. Putting a face to the name, she’s the one pictured above, interviewing Hiroki Nakamura at his ultra top secret A/W 2010 Presentation in Paris.

Other than the photo of him ironically chilling in a sleeping bag and tent, probably lined and made constructed with the most expensive kind of Goretex possible, these, 2 other photos, and an inkling of a write-up are the only one’s you’ll find online of the presentation.

Words like “inspired by an alpine mountain trip” and “wicked hiking boots to the dandyish mountain climbing suit” don’t really provide much to even pretend to imagine. Thankfully though comes the promise of some pending resolve as a new video interview is coming “in the next few days.”

I’ll probably post it, the minute it comes up, that or you can keep an eye on ASVOF, which other than the promise of the interview, provides an interesting insider’s look on the fashion industry in Paris.

And judging by the past stuff Visvim has come up with and the knack for the outrageous of Hiroki Nakamura, it may not be something new, but probably something worth losing a couple hours of sleep over.

January 27th, 2010

Twenty Four A Second

Garuda, animated by the students of Les Gobelins, found via KN.

Animation was one of those things I was never good at. Having had a thorough three term dosage of it in the form of classes in school, it left me with two things, feelings that fall on two polar sides of the knife edge.

The first was the most natural reaction, the feeling of not wanting to immerse myself into the extremely tedious task of. Ever again I said, or well, at least not for the near future. I remember a professor in school mentioning that the job of animation was for those anal people, with the inclination to punish themselves, I couldn’t agree more.

What followed this almost unanimous dislike for the medium was the capacity to appreciate it in only the way someone whose made, or tried making one could. Suddenly the Sunday Morning cartoons my niece would watch looked exponentially more amazing, and I remember a particularly artsy black and white episode of Samurai Jack leaving me floored.

Garuda, in a gist, is a simple short about an Indian boy who chases his dreams. There are techniques at work here that I can’t even begin to explain, and more so imagine being done to the extent that it was.

The minute of stunning visuals that resulted from it speak for itself. One thousand four hundred forty frames, give or take a few. Each one frozen could stand alone as a beautiful piece of artwork, but when strung together, make for quite a masterpiece.

2010 Manuel Lotho for mer de noms. All Rights Reserved.