This is the first video in a series about the new language of data and its impact on culture. The videos have been created for the VISUALIZED conference, Nov 8 & 9, 2012, in New York City. visualized.com / @visualized
Each version of Hesitation Marks will have its own unique cover with artwork by Russell Mills. Pictured above:
Digital cover: “Turn And Burn” (Plaster, earth, oils, acrylics, etching varnish, bitumen, burning, rusted linen, blood, spent matches, on wood)
Deluxe CD cover: “Cargo In The Blood” (Burning, Polaroid frame, copper wire, mica, on velvet, on wood)
Standard CD cover: “Time And Again” (Plaster, earth, oils, acrylics, etching varnish, rusted linen, blood, microscope slides, on wood)
Vinyl cover: “Other Murmurs” (Plaster, earth, oils, acrylics, etching varnish, collage, on canvas, on wood)
Some words from Russell about the artwork created for the album:The artworks, (30 mixed media pieces) that I eventually produced towards uses in the Hesitation Marks releases, evolved out of lengthy exchanges between myself and Trent and in response to the conceptual ideas that thread through the tracks and to the sonic territory that the album explores. I’ve tried to lock into the album’s prevailing mood and echo the album’s essence. The ideas are not communicated in a literal or easily digested form, as this would be boring for me and would insult the intelligence of a potential audience. I’ve tried to make works that obliquely allude to the essence of the subject matter, to its emotional core.As with my self-initiated works - the paintings, assemblages, collages and multimedia installations - personal ideas and obsessions seep into these works. The organic, the natural, prevailing over or feeding into the industrial, the man made, is a common theme in my work generally and in this instance was particularly apt for the art required.The works explore ideas of catharsis, of being into dissolution into being, both on a personal and sociological level. They allude to ideas about chaos and order. They deal with ways of suggesting presence in absence. They are a cross between the forensic and a pathology of the personal in which only fragments remain, in which minimal clues can suggest events that may have occurred. They attempt to harness the chaos of a situation, of now, of the personal trauma, of the human condition, into a form that is coherent, a form that accommodates the mess without disguising it as something else. It attempts to capture the essence of these ideas by implication and exclusion. Beneath the form lies the uncertainty and ceaseless flux of the mess, of the chaos.An amalgam of the contextually-anchored and the process-driven, they are hopefully powerful, arresting, seductive, suggestive and resonant. I hope that they will invite multiple readings.
Give me some, give me some more!
For his newest musical project, Trent Reznor put his trust again in Moment Factory for the first tour of How To Destroy Angels (HTDA). Their tour stopped in Vegas, San Francisco, Chicago, Toronto and at the Coachella Music Festival. The public saw an innovative and dynamic set design created under the guidance of the band’s vision and in collaboration with Rob Sheridan (HTDA & Nine Inch Nails art director) and Roy Bennett (long time Nine Inch Nails production designer). Moment Factory brought life to it with colourful shapes and a touch of interactivity, adding to the music’s mystic.
Trent Reznor a une fois de plus accordé sa confiance à Moment Factory pour son plus récent projet musical : la première tournée de How To Destroy Angels (HTDA) qui s’est arrêtée dans les villes de Las Vegas, San Francisco, Chicago et Toronto ainsi qu’au festival Coachella. Le public a pu apprécier un décor novateur et changeant, rehaussé de formes colorées et d’une touche d’interactivité conçues par Moment Factory. Guidés par la vision du groupe et en collaboration avec Rob Sheridan (directeur artistique pour HTDA et Nine Inch Nails) et Roy Bennett (concepteur de production de Nine Inch Nails depuis des lustres), nous avons créé des images renforçant le caractère mystique de la musique du groupe.
Finally my 2nd Calarts film is completed! It feels really great to make a more personal film this year, now that I know the ropes of filmmaking a bit better. I wanted to make something that focuses on how meaningful it is to make food for someone you love. My family’s lives practically revolve around cooking for each other, so it’s a theme that I’m deeply attached to. I hope you enjoy it!
FILMAGE: The Story of DESCENDENTS / ALL
Official Selection NXNE 2013
Saturday, June 15th @1pm
The Bloor Hot Docs Cinema
A Film by Deedle LaCour and Matt Riggle
Written by Matt Riggle
Directer of Photography: Justin Wilson
Edited by James Rayburn, Deedle LaCour, Justin Wilson
Produced by Deedle LaCour Matt Riggle, Stefany Strah
Co-Producers Marissa LaCour, James Rayburn, Justin Wilson, Caryn Capotosto
Directed by Matt Riggle and Deedle LaCour