My celebration of receiving a 2011 Guggenheim Fellowship (http://kasuminews.com/) is tempered by the ongoing catastrophe in Japan. For this reason I've created SAIGAI, an elegy for the lost and deceased.
http://www.elsewherefactory.com/2011/04/saigai-%E7%81%BD%E5%AE%B3/#more-5156
"Kasumi is a Creative Workforce Fellow. The Creative Workforce Fellowship is a program of the community partnership for Arts and Culture, made possible by the…
SOUNDBOARD investigates the potential for meaning that adheres in increments of physical movement: the marks it leaves through the materials of motion and sound. Using only the sound created from the dancers’ bodies as they come in contact with the floor and each other, it is a study of the human body as it marks its position in space and time, and the very intimate, organizing rhythms that musical force brings to the equation of world and self. Muscles…
A remix, straight cuts, no effects on either audio or video, using a single source (Brink of Disaster) from the Prelinger Archives.
http://www.archive.org/details/BrinkofD1972
http://www.imdb.com/video/wab/vi1532336409/
Image/sound: Kasumi
Dancer: Chan U Hong
3 video channels, 6 audio channels (mixed down for Vimeo)
The Drowning is a shorter version of my work "MO-SO," an EMPAC DANCE MOViES Commission 2009-2010, supported by the Jaffe Fund for Experimental Media and Performing Arts, Experimental Media and Performing Arts, Rensselear Polytechnic Institute, Troy, NY.
In “The Drowning,” I wanted to explore the impressions…
imdb.com/title/tt1540798/
The Vimeo Remix Award winning version:
vimeo.com/13516268
BREAKDOWN is composed entirely from public domain film samples into a multi-dimensional narrative and musical structure that mimics and mocks the manipulations of commercial and political propaganda. The story that emerges from this polyphonic, contrapuntal tapestry is the ageless tale of corrupt power-seekers, perpetrating deceptions on gullible masses. In its…
energy-packed, operatic found-footage sequences...reminiscent of William Burroughs’ surrealist-inspired cut-up narrative techniques, informed by Sergei Eisenstein’s pioneering use of montage, and continuing up to the present moment by way of Rauschenberg’s fragmentary layering, Warhol’s brightly stained iconography, and the last several decades of socio-political nonsense... Kasumi’s recombinant fantasias magically extract
energy-packed, operatic found-footage sequences...reminiscent of William Burroughs’ surrealist-inspired cut-up narrative techniques, informed by Sergei Eisenstein’s pioneering use of montage, and continuing up to the present moment by way of Rauschenberg’s fragmentary layering, Warhol’s brightly stained iconography, and the last several decades of socio-political nonsense... Kasumi’s recombinant fantasias magically extract vibrant cultural DNA from mid-twentieth century propaganda films, TV programming and B movies. Meticulously excised, symbolically resonant visual phrases – tics and odd gestures, salutes and double-takes -- mimic the manipulations of commercial and political propaganda. Compulsive snatches of verbal monologue retrieved from the one-use intentions of mass media are reiterated, stretched, and strummed, punching up levels of parody and paranoia.
- from An Unknown Enemy (You Better Believe It!):
The Meta-Montages of Kasumi By Douglas Max Utter
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