It is my moral duty to pass this on:

DAVID OREILLY & CO CREATED A WORLD THAT IS EXTERNAL TO OURS (according to them)


 [now in Werner Herzog's voice:]

BUT TO ME IT IS HAUNTINGLY SIMILAR TO OUR OWN

It's less than 20 minutes long.


THE EXTERNAL WORLD
A boy learns to play the piano.

And literally only for 'fucks sake':

AWARDS

Audience Award – Dead By Dawn Film Festival (2012)
Best Animation, Best Experimental – SOTW awards (2012)
Special Mention – Bolzano Short Film Festival (2011)
Best Short Film – Ljubljana Intl. Film Festival (2011)
Best Short Film – Anim’est IAFF Romania (2011)
Grand Prix – Tallinn Black Nights Film Festival (2011)
Audience award – Tallinn Black Nights Film Festival (2011)
“Most Actual Animation” Award – Multivision Festival (2011)
Audience award – Uppsala Intl Short Film Festival (2011)
Best Contemporary / Experimental Short  – Sapporo Shortfest (2011)
CRYPTON Best Sound Award – Sapporo Shortfest (2011)
Grand Prix “Golden Kuker” – The International AnimationFilm Festival Sofia (2011)
Best Direction Award – ANIMAGE – III International Animation Festival (2011)
Best International Short (Independent) – Playgrounds Festival (2011)
Best Short Film Award – Anim’est IAFF Romania (2011)
Golden Gate Award – Best Animation – San Francisco Film Festival (2011)
Best film in category “10-50 minutes” – KROK (2011)
Grand Prix – 25FPS Festival (2011)
Audience Award – 25FPS Festival (2011)
Grand Prix – Fantoche Film Festival (2011)
Grand Prix – Silhouette Short Film Festival (2011)
Jury Special Mention – AyeAye Film Festival (2011)
European Youth Jury Special Mention – Aye Aye F.Festival (2011)
Special Achievement Award – ANIMANIMA (2011)
Audience Award – ANIMANIMA (2011)
Best International Animation – Anibar (2011)
Best Short Animation – Guanajuato Intl Film Festival (2011)
Jurys Special Mention – Melbourne Animation Festival (2011)
Best Animation – Tabor Film Festival (2011)
Special Mention – Curtocircuito Festival (2011)
Vox Veronicae Award – Tabor Film Festival (2011)
Audience Award – Vienna Independent Shorts (2011)
ASIFA Austria Award – Vienna Independent Shorts (2011)
Award of Distinction – Prix Ars Electronica (2011)
Grand Prix – Intl. Festival of Animated Film Stuttgart (2011)
Golden Gate Award – Best Animation – SFIFF (2011)
Grand Prix – Hallucinations Collectives (2011)
Best Short Film – Obliqua Section – Mecal (2011)
Adobe Award – Regensburg Short Film Week (2011)
Best Animation – Tampere Film Festival (2011)
International Audience Award – Minimalen Film Festival (2011)
GoShort – Best Animation (2011)
IFTA – Best Animation (2011)
Canal + Award – Clermont Ferrand (2011)
Honorary Mention – Sundance (2011)
Best Animation/Yoram Gross Award – Flickerfest (2011)
Public Award – S. de la Cinémathèque Québécoise (2010)
Youth Award for best short film – Gijon Film festival (2010)
Berlin Award – Interfilm (2010)
Grand Prize – Kurzfilmtage Winterthur (2010)
Special Mention – Cork Film Festival (2010)
Grand Prize – Ottawa Animation Festival (2010)
Best Experimental Film – Rio De Janeiro SFF (2010)
Special Mention – Rio De Janeiro SFF (2010)
Special Mention – Intl. Film Festival Bratislava (2010)
EFA Nomination – Venice Film Festival (2010)

The Secret is that Radio Waves are (Invisible) Light

"As part of our species’ search for intelligent life in the universe, the United States flung a Pioneer space probe containing a graphic message far out beyond our solar system in 1972. The scientists associated with it hoped that it would be intercepted by some galactic beachcomber after it left our corner of the cosmos. Newscasters speculated upon how it would find its way to some distant planetary system to be turned over in prehensile limbs we cannot imagine. 

Of course, Marconi had already done the same. Seventy-seven years earlier, a small percentage of the magic light from his first radio broadcast did not get reflected back to Earth but passed on through the ionosphere and escaped into outer space. Unlike sound, light is capable of spanning the void. It takes eleven days for sound to cover the distance light travels in a second. From 1895 onward then, the incoming light from distant stars has had to pass through our outward-bound radio wave transmissions. 

Imagine the excitement that will be generated when some lone radio ham, on a distant planet orbiting a different sun from ours, one night just happens to turn on and tune in to Earth. What a surprise will unfold, because it is all there - the entire history of the twentieth century as well as music since the Renaissance. Our new radio audience will be able to listen to all our electromagnetic radio transmissions falling on their planet as light from their sun falls on ours. They will hear our extraordinary talents and momentous events as they arrive encoded in these waves. Out somewhere beyond Alpha Centauri, there exists in an ectoplasmic state the messages of Amos and Andy, Adolf Hitler, and Bishop Fulton Sheen, and the music of Ludwig van Beethoven and Bing Crosby. Beginning in the Renaissance, music was recorded through notation. Because of it, the constraints of time were overcome. Now as a result, we can listen to the ensuing centuries’ music. Radio has superseded the constraints of space as well because by converting music to light, Bach and Mozart will resound in outer space forever.

Anyone receiving our early broadcasts would be tuned to musical trends and historical events that have already happened here on Earth. Because of the time it takes light to traverse space, they will not know the outcome; having to wait in nail-biting suspense, like children at a Saturday matinee, to find out who ultimately wins World War II or the answer to the crucial question of whether we will ultimately destroy ourselves in an environmental apocalypse. 

With the advent of television we have dramatically increased the outpouring of light-as-information. Now our stellar audience can see what we look like as well as how we sound. The soap opera called the Twentieth Century has expanded out from Earth in a bubble of ghostly light. If, as some astronomers have speculated, there are many different planets out there capable of containing intelligent life, more and more planets will tune in as our programs fan out across space, and soon music and our story will be heard and seen at different times in different places from one end of the universe to the other. "

-Leonard Shlain 

Excerpt from 'Art & Physics: Parallel Visions in Space, Time and Light'

FRESH FREE BEAT HEAVY MUSIC

If you like FUNK and HIP HOP and OLD SCHOOL FRESH BEATS.

Just stream this and be careful from the Donovan song on, trust me!

We Funk Radio
http://www.wefunkradio.com/show/2012-03-16#play_aa



(( amazing artwork 'Flower Pt 2' by Stereoflow ))

I Don't Know [RIP]

Like everything
that they put out
that was,
this was
heavy.

And fresh.

 As soon as i saw the headline
 I knew,
 I knew i’d remember.




 http://www.youtube.com/watch?v=_rDklqPG5pU

He's Baaaaaaaack!

GP: "Before MTV. I was hanging out with Matt Groening and we were talking about being fans of Frank Zappa, and we really admired the way that Frank Zappa brought ideas into the marketplace, into children’s and teenagers rooms, with reading lists and so on. We were interested in being people like that."

GP: "I would say my friend Matt Groening has entered into media and made a gigantically powerful platform for leftist politics on a conservative station... If I go to Paris and turn on the TV, there’s “The Simpsons”. If I change the channel, it’s “Futurama”... he has done this incredible job of infiltrating media."

&

JW: "And I was an upper-middle-class Jewish prince. I think drugs are great. Quote me on that. I think drugs are great. But only when you use them a little bit, for pleasure."

via: BombSite

http://bombsite.com/issues/1000/articles/6566

Excerpt from the cover of Bidoun Magazine #25

"In July 2010, i dreamed that i was flying
over downtown Cairo in a one-person
helicopter made of glass. Like a Segway,
in the air. And the entire city was flooded
to the level of the billboards but the lights
were all still on. It was post-apocalyptic.
There was a sinkhole in the center of Tahrir
Square that the water was rushing into.
And i was afraid of flying too close to it.
So i flew up to Muqattam, where the water
was rushing over the cliff, creating this
kind of waterfall, into this tiny cave. And inside
there was a ten-foot-tall military man, like
twice the size of regular person, sitting in
a chair, and i spent all night just chewing
on his ankles, punching him - he was like
a clown doll, made of rubber, but he was
taunting me, i could hear his voice inside"...

El4D - Daydreams

Check out EL4D for more songs, free album downloads, etc.


10/18/11 El4D - Daydreams Album UPDATE!!

(This is a little bit about the album i've just finished, Daydreams)

It’s 2011, almost October, and i’ve just turned 24. I’ve finally accomplished something that i’ve been meaning to do for many years, something that i have wanted to get done before i died, and something that i’ve learned a lot from and have had a lot of fun doing: the completion of my first album - the fantastic, psychedelic, and often times downtempo, Daydreams.

Daydreams is a collage of unorthodox songs that began as a set of conceptual ideas, guidelines, and thoughts that slowly blossomed into and ultimately became the album that you hear today. Almost each song has its own unique history, from Remembering the Walk, which began as an experiment in ambience, to R0DNEY K1NG, which turned out to be a giant glacier sliding slowly to an almost complete stop, in Las Vegas, of course.
[Strings] was borne out of the albums’ last track, the aptly titled [Remember Me] Now. I challenged myself as a musician to almost completely refrain from using the musical instruments that i was familiar with, and instead, to try to compose a song, not from the ground up, but from samples that i had amassed, grouped together selectively, and then cut and had my way with. It was like building an entirely new image that had never been seen before, out of things that had. I used some of the puzzle pieces from this box and some from that box – rather obviously, some of them had trouble fitting.

[Strings] emerged out of the acute strain of chaos that ultimately and abruptly caps off the album. It expands upon the dimension of [Remember Me] Now, and becomes an invitation to one of Calvino’s lesser known electronic cities. This one, existing next to one of todays digital clouds, somewhere between discs and processors.
Many songs have doubles, parallels, different avenues, versions and ‘perverted versions’. I didn’t know what to do with them at first, i just kept trying to explore these different ‘environments in sound’, these ‘places in audio’, these words that better describe worlds. I drove myself mad, playing around, exploring, hoping to ‘find’ the proverbial one. Sometimes it happened. Other times it happened twice*.

Often times I felt like i influenced my music too much for my own good. I wanted a new challenge, some new ‘rules’. I had all of these old toys, and no one to play with. So i attempted to do something which i’ve never been very good at, namely working with other people:

Philosophengang in German means ‘the philosophers walk’. I think that may have been what Nietzsche called it, i’m not so sure. On yesterdays walk, Toby Bryan was our philosopher. I attempted to be the ground he tread.

Monsieur! with Veronica Karrer has always been one of my favourite stories in song: I played Veronica some innocence on the guitar and within a few minutes she produced the eloquent piano lead that will never change. The song, in it’s infancy, reminded me of a place i had never before been. Monsieur!

And I’ll say this: I’m not one for religion, but my friend is a prophet. On a road trip to Arizona a few years back, Elijah introduced Veronica and myself to Alan Watts. We had enough time to make it through six or seven CD’s of his and whenever i heard a line that i particularly liked, i wrote down the track number, disc number, timestamp, and a few words to help me remember. These notes inevitably became Alan, Revived.

This leads me to my good friend, teacher, and roommate, David Thomas. David is featured on Cubby T, Introspective Tea, and Remember Me [Now]. Even before David ever hit an electronic drum pad that had been connected to my laptop, and even before either of us ever knew he would, David had been one of my greatest assets in terms of musical help. It was as if he sold his soul to the devil and got something that he could never repeat, but could convey using his whole body. Without the devil knowing, he threw a few moves my album's way.

I want to thank Chloe Myaskovsky for her amazing artwork - her painting doesn’t look like my identical twin brother, Yuval, but rather it looks like me, Elad. This is according to my mother, our mother, which is saying a lot.

I want to thank Miles Gussin (and David Thomas again), for teaching me that silly word that is as hard to spell as it is to learn, ‘rhythm’. Miles would bring his setup over to my apartment and we’d each stare into our screens working on music day and night, stopping just long enough to help each other out, listen to each others work, and stay high. It’s certainly worth mentioning that in the beginning Miles and i did not have laptops. He would bring his giant computer tower over and i had room on my desk with a separate flatscreen, mouse, keyboard, and cables for him to work on. That’s dedication. There’s more i can say, but Miles knows what’s up.

I want to thank Monica Finc for so many things that i really don’t even know where to begin. She saw me in some of my best and worst times musically. She heard my songs almost as many times as I heard them, and yet she always encouraged me to continue, reminding me when i forgot. She continues to remind me today, and probably still will tomorrow, and that’s just her reminding me. I hope i give her as much as she gives me.

I want to thank wholly everyone for wholly everything. My family in particular is owed an undeniable kudos. You will each be thanked individually, with time and as we meet. Thank you all.

-e.a. 10/10/11