CONTENTS

 
   about
   MICHAEL BETANCOURT NEWS
   movies: AESTHETICS
   movies: NEWS & REVIEWS
   movies: SHOWS & SCREENINGS
   random art notes
   random how-tos
   research: AVANT-GARDE MOVIES
   research: MOTION GRAPHICS
   research: VISUAL MUSIC
   theory: CRITICAL OBSERVATIONS
   theory: DIGITAL CAPITALISM
   theory: GLITCH & POSTDIGITAL
   theory: working notes

 

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SEARCH ARCHIVES

archives begin in 1996

  

The Kodak Moment (2013)

story © Michael Betancourt | published October 21, 2013 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



movies: NEWS & REVIEWS

The silent film actress Mae Murray, known as the girl with bee-stung lips, appears in fancy dress, pouting and flirting with the audience. Hers is an archetypal image of white feminine beauty from the start of the twentieth century, a form that was already old when the source film was shot in 1922, here glitched and fragmentedyet remaining coherently recognizable throughout this movie. The music is from a vintage 1920 recording of inventor, visual music pioneer, and symphony piano soloist Mary Hallock-Greenewalt playing Chopins Nocturne in G Major.






 
Helios | Divine (2013)

story © Michael Betancourt | published October 9, 2013 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



movies: NEWS & REVIEWS

This movie follows the development of a revelatory experience from a 'parting of the veil' into the emergence of a new landscape where the 'distractions of physicality' are replaced by the 'numinous encounter' and beyond.






 
About Making Dancing Glitch

story © Michael Betancourt | published September 11, 2013 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



theory: GLITCH & POSTDIGITAL

OtherZine 25 has my article on making Dancing Glitch where I discuss how recognizing glitches depends on the audience, not what was done to/in making the work.






 
on Lardani's Titles

story © Michael Betancourt | published August 23, 2013 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



research: MOTION GRAPHICS

My new article discussing the titles for The Good, The Bad, and The Ugly is online today at Bright Lights Film Journal.

The glitch and other details of his first on-screen credit distinguish Lardani's title card from the rest of the sequence in a very dramatic way unlike the other titles, which are immediately obvious as credits, it is possible to miss his credit entirely, a strange distinction to choose given his role and, according to his son, complete freedom in creating the design. It is almost as if his title card is hidden in plain sight.






 
ZXX and Cryptographic Typefaces

story © Michael Betancourt | published July 3, 2013 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



theory: CRITICAL OBSERVATIONS

ZXX is a computer 'font'--a group of typefaces for digital use--created by artist Sang Mun that currently result in illegible printed material when scanned by OCR technology that existed when it was initially produced. This qualification--when it was produced--is actually very significant to this kind of project because the various letter forms are (as with any typeface) 'set' and so will remain constants even though their size, arrangement and contents will inevitably vary from use to use: because these letter forms are a finite value, and are generally known, it would be relatively easy for a high powered OCR system to have this 'font' simply become one of the things it scans for, then error corrects so the contents become machine readable.




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