1. to make holy; sanctify; consecrate.
2. to honour as holy; consider sacred; venerate.
Etymology: from Middle English hal(o)wen, Old English hālgian, cognate with German heiligen, Old Norse helga, derivative of hālig, “holy”.
[Tom Bagshaw - Hallowed Age]
As time goes on, you’ll understand. What lasts, lasts; what doesn’t, doesn’t. Time solves most things. And what time can’t solve, you have to solve yourself. — Haruki Murakami, Dance Dance Dance (via bookmania)
We are fed lies because believing them makes us weak, vulnerable, malleable. We depend on others for our food, health, sustenance. This cripples us. Creates cowards of our people. Slaves of our children. It’s time for us to fight back. —
Shatter Me by Tahereh Mafi
Without literature, life is hell. — Charles Bukowski (via veronalum)
Artists define who and what they are, by their relationship with art and the changes they undergo during the period of imagining, manifesting and creating. An utterly free creative mind charts a course through their imagination, learning many different things along the way.
There comes a point in the journey where you need to stop and take stock of what you’ve learnt.
We’ve learnt that art can be many things to many people.
One person’s masterpiece is another person’s cultural turd sandwich.
That art should be both revolting and captivating.
We’ve also come to understand that as artists and storytellers we’re currently faced with both an immense challenge and a unique opportunity: How to ensure technology is a useful tool and not a method used against us to control our relationship with the audience.
To this end, we’re going to be simplifying how we communicate with those of you interested in our work, in the hope we might create a more intimate and authentic conversation.
If you’d like to be part of this dialogue which may contain but not be limited to: secrets, confessions, truths, original stories and details of our new works, such as books, radio, immersive theatre and films that we’re working towards and other artists work that has caught our attention, then please subscribe to the relaunch of the Noumenal Engine newsletter here.
As a way of a thank you, we’ll send you a free book from Weaponized.
We look forward to making your acquaintance or seeing you once again inside the ring.
Please do share this note far and wide.
P.S. Oh and If you’re free and want to meet us and discuss further, we’re hosting a new workshop in London on the 31st of this month.
Photograph by Yiannis Katsaris
Notes on literature and writing from The Book of Disquiet by Fernando Pessoa, page 30
Out of the Ashes | Filmmaker Magazine -
The term immersive storytelling is being heavily used at the moment, but it describes something that has been around for more than just the last few years
"The production (Strange Factories) fuses the haunting, authentic dreamworlds of David Lynch and the theatrical philosophies of Antonin Artaud, who believed in the Theater of Cruelty, using stagecraft to create a vivid and disturbing reality to powerfully draw in the audience."
Article and interview with Lucy and myself in the latest print and iPad issue of Filmmaker Magazine
: 'Strange Factories' will be unveiled at The Cinema Museum -
This Hallowe’en the doors open and the veil falls, allowing the mysterious and the magical to enter our world.
FoolishPeople is proud to announce their collaboration with The Cinema Museum London in the theatrical release of their haunted feature film Strange Factories.
A writer, possessed by a terrifying story journeys into unknown and dreamlike places, haunted by the infamous Hum emitted from a strange factory.
FoolishPeople and The Cinema Museum invite you to enter into the heart of English Dreaming and engage in a live cinema encounter like no other. Explore the world of Strange Factories and experience the madness and terror of haunted cinema, as you witness the film unravel inside Stronheim’s factory and its characters come to life around you.
The ghosts of the silver screen will join you in a mysterious ritual that will align you with the ancient paths of Die Geisteweige and immerse you in a film filled with magic, obsession and mystery.
Who is the infamous Stronheim? What exactly is the purpose of his hidden factory? And why have four performers fleeing from a burning theatre become enmeshed in the primal struggle of a story giving birth to itself?
Strange Factories draws on ancient theatrical traditions and mystical exploration, to wrench at the heart of what it means to be human.
Will you allow it to show you the wonder behind the moving pictures - the dreams of violent imagination?
Will you permit FoolishPeople to conjure for you, as darkness falls, and the lights go down?
Not everyone can survive the violence of Creation.
To celebrate the announcement, Director John Harrigan and Producer Tereza Kamenicka will be at the London Archive Film Festival tonight at 7:30pm to discuss the project.
26th October - 9th November 2013
The Cinema Museum
2 Dugard Way (off Renfrew Road)
Nearest tube: Elephant and Castle
Tickets £28.00 (£25 concessions)
Limited Edition Pack £35
Pre-order ‘Strange Factories’ today via VHX to be one of the first to witness its digital release on the eve of our first theatrical screening on October 26th.
Direct Distribution is Important for Artists, Audiences, Everyone
There’s a lot of talk about new ways of watching, streaming, funding, and everything else-ing video.
Which is why we’re so excited to be VHX right now, working in this intersection of video content and technology. Artists are generating an amazing amount of great content. While there are options for distributing free and ad-supported videos, there are not great options for actually selling your work. We are making a platform to get artists’ work seen, loved, and paid for.
Direct distribution is creators selling directly to their fans.
Instead of using other people’s stores and marketplaces, artists can sell from their own websites. This model points to the kind of close relationship between audience and creator that both parties want - axing the middleman idea that has come to define old structures. We are part of a new developing ecosystem of distribution, offering better, more flexible options to help anyone sell their work to the people who want it.
1. Because, Internet.
With the perpetual advance of bandwidth and plethora of devices to consume content, it’s just plain easy to watch online. We strongly believe that a digital copy of content can and should be superior to its physical ancestor. You can stuff your “digital DVD” with bonus content, subtitles, bundle with other goodies, or even change or release more content over time, free of old school restrictions like region-blocking. Miami Connection - a film that was barely available on VHS when it was made in 1987 - is now easy to watch anytime with hours of bonus content, anywhere in the world.
Additionally, the Internet has enabled makers and their audiences to build real relationships, from #TeamCoco to Taylor Swift to Amanda Palmer. The webs of social networks that have developed over the last decade mean that artists are able to communicate en masse, for free, and connect to the fans that are interested in their work. Dave Grohl uses social media platforms as a way to tell fans about his doc, Sound City, connect them to upcoming concerts, and even answer personal questions. Content discovery is powered by people, and artists can have a direct connection to that process.
2. Direct distribution allows artists less restrictions, more control
Distributing directly to fans online relieves a lot of restrictions. Content does not need to fit into a specific package, like “feature-length film,” to be something that fans want to buy. House of Cards showrunner Beau Willimon explains that content like TV programming must adapt to the desires of a digital audience:
“There’s not even a reason to stick the half hour or hour-long models. You can have an episode that’s 20 minutes, an episode that’s 90 minutes.”
A flexible platform allows artists to sell freeform content they may not have even considered.
Direct distribution also allows artists to command long-term control of the work they generate. They can be as creative with how they release content as they are with how they make it. Mike Birbiglia partnered with IFC to sell Sleepwalk With Me in the United States, but kept many of the international rights and sold his movie directly from his own site everywhere else in the world.
Keeping that control empowers artists to choose the distribution methods that work best. Technology offers precise information about audiences that you simply can’t get elsewhere. The filmmakers behind Stuck tracked their site referrals and focused their resources on what worked, while Indie Game: The Movie used audience and sales data to experiment with the optimal price point. Selling directly is a viable, accountable complement to everything else in the seller’s arsenal of tools, and what they learn from their web traffic can inform the rest of their distribution strategy.
3. And it’s better for fans anyway
Artists have the ability to make more money from their work when we connect them directly to fans. Think of it as the technology piece that’s been missing from their distribution toolbelt.
Every creator that we’ve worked with at VHX is so excited to be able to put their work online in a way that reaches individual fans in a personal way, and in a way that showcases the content:
Minecraft: The Story of Mojang includes a bonus mini doc of the making-of their next big game.
The Invisible Made Visible offers an extra Q&A with the man/myth/legend Ira Glass, plus a custom game for fans to play along with OK Go’s music.
Doin’ It In the Park gave Kickstarter backers early access to the movie.
Dave Grohl includes a personal letter of thanks in each purchase email confirmation of Sound City.
And those are just a few. The freedom of selling directly empowers artists to be creative with their content and creative with how they show it to the world.
And that couldn’t be better news for us as fans. The nature and quality of video experiences keep evolving, and artists continue to explore ways for audiences to interact with their work online. As an audience, we get to keep supporting creators as they make things we want to watch - your wallet is a powerful way to vote.
We want to make direct distribution easy, so creators can reach fans, audiences can watch great content, and we can all support work we love without wondering where the money is going.
The VHX platform is in action - check out some awesome artists distributing directly to fans. And drop us a line with distribution experiences you have, whether as an artist or content-consumer.
(Source: e-m-p-t-y-s-e-t, via weaponizedextro)