ISBN-10: 1871592232
ISBN-13: 9781871592238
Swift EYE was once the seminal British counter-culture magazine based in 1979 through journalist Simon Dwyer.
Painters, cyberpunks, dog-boys, mad scientists, occultists, neoists, functionality artists, film-makers, writerss, leopard-girls and voodoo horsemen. Hacking into the hot digital geography, the place time and house don't exist, yet the place concept survives, as in paintings. during this age of transition and sensory overload, new principles and companies of notion shape. To be marginalised, misunderstood, overlooked, reviled. yet depression can gas construction. mind's eye can substitute myth. desire can conquer worry. various interpretations of the earlier and clean techniques to artwork and know-how can make sure the evolution and refinement of the conception of daily life. within the digital universe, there is not any dying.
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Example text
But artistically, I feed more off of the strippers I know. Despite, or maybe because of, AIDS, it's really fashionable to be sexually outrageous again, to fuck everything. : Are you familiar with Jorg Bungereit's films? Parts of his Nekromantikand DerTodesking both seem to use Thrust In Me as a starting point. KERN: "I haven't seen any of his stuff, but I have a Nekromantikt-shirt a friend gave me. People always talk about influences, but I'm not too sure. : There are some stylistic similarities (particularly regarding I Hate You Now), but the Kuchars' films are much less intense, more humorous.
Getting his act together, initially as a performance artist of the more visceral kind, he attracted the attention of Ms. Lydia Lunch, then a vocalist with Teenage Jesus. The fiercest of America's post-punk acts wanted to get famous, and get famous fast. (Bowie and Iggy, and all their lurexed, mascara'd contemporaries). Kern and Lydia were naturals together. An artistic (pardon the profanity) union made in Hell. What Kern gained from an alliance with the formative "noise rock" bands was a coterie of individuals who shared the same obsessions, who weren'tafraid of being identified with psychosis, violence, playful nihilism, and, of course.
Was also directed by Kern). Only here, it's a case of style over content - hardcore sex & violence won't get any would-be Nirvanas onto night-time MTV. The disturbing 'sex & death art' aspects have been adopted by the current industrial noise bands, whose sonic attacks owe much more to experimentalists like Throbbing Gristle and Einstandze Neubaten than any of Kern's contemporaries. America's Skinny Puppy and Frontline Assembly, along with Brit pioneers such as Coil and Jouissance, enhance the nightmare worlds of their music with video representations that verge on the obscure, but rarely resist the urge to throw in a shocking image and wake up the audience (Skinny Puppy, current ~ 44 Nihilist Cinema Part I nabobs of the scene, have formed an occasional partnership with young horror movie maker Jim Van Bebber, much along the lines of Kern's work with Lydia Lunch, Foetus, and Sonic Youth).
Rapid Eye 2
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