#trevor tweeten

[mylifeeinfandoms]

Richard Mosse: What the Camera Cannot See | Art21 "Extended Play”

Episode 284: What the Camera Cannot See

Artist Richard Mosse documents humanitarian crises and environmental catastrophes by making the unseen visible.

This film follows Mosse and his collaborators Ben Frost and Trevor Tweeten as they travel across the world to film under-reported world events in zones of conflict, repurposing surveillance technologies and scientific tools to capture stories and scenes that evoke deeper understanding and motivate audiences to act.

In locations like the Democratic Republic of Congo (DRC), where over 50 armed groups are engaged in combat, or along paths of migration from the Middle East and North Africa into the European Union, the artist works to bring attention to conflict and suffering around the world.

“My power, if I have any,” says Mosse, “is to be able to show you the things that I’ve seen in a more powerful way than perhaps the pictures you’ve seen in the newspaper of the same thing.”

[allthebrazilianpolitics]

Richard Mosse documents the hidden war in the Brazilian Amazon

In a powerful work of video art, the Irish photographer reveals the systematic destruction of the largest rainforest on Earth

TOGETHER THEY rise from the water, three dark circles suspended on ropes. A spray of leaves is snagged in one, as if it were wearing a headdress. These ominous forms are pulleys, tethered to a mineral dredge used to extract gold from the riverbed of the Amazon. The destructive practice is one of many that Richard Mosse, an Irish photographer, documents in “Broken Spectre”, an extraordinary portrait of environmental crime in the Amazon, 60% of which lies in Brazil. Created over five years with Trevor Tweeten, a cinematographer, and Ben Frost, a composer, the video artwork is showing at the National Gallery of Victoria in Melbourne and at 180 Studios, a gallery in London.

“Broken Spectre” is urgent. On October 30th Brazilians will vote in a run-off to decide whether or not to give Jair Bolsonaro a second term in office. The fate of the rainforest hangs in the balance. Levels of deforestation have reached a record high on Mr Bolsonaro’s watch, and nearly all of it is illegal. His scorn for indigenous reserves and environmentalists has emboldened criminals, who are among the subjects of Mr Mosse’s work.

“These fronts of deforestation were being overlooked,” he says. So he wanted to make people look again, “to refresh the imagery of the burning rainforest”. In someone else’s hands, 74 minutes of cattle ranchers, logging, wildfires and garimpeiros (illegal “wildcat” goldminers) could become repetitive. But the sequence unfolds on a 20-metre-wide screen, and is deftly edited to match a soundscape so loud that it reverberates through the visitor’s body. It combines three unusual mediums: multispectral aerial footage, glowering black-and-white film, and time-lapses of the forest at night, shot in ultra-violet (pictured, above). The flora glows. The overall effect is surreal, even nightmarish, and continues the disquieting beauty that characterises Mr Mosse’s previous work.

Continue reading.

[trustblogger]

Tweeten 2018

TWEETEN 2018 HOW TO

"Tinder jerks get shamed by hilarious Instagram account". Those who aren't need to act | Jess Zimmerman". "Not all men are awful to women on the internet. Bye Felipe: Disses, Dick Pics, and Other Delights of Modern Dating. "Her Instagram account Bye Felipe exposes online-dating creeps.

^ a b c d e f g h Birch, Jenna (28 September 2018).

Reception įrances Shaw, writing in the academic journal Social Media + Society, called Bye Felipe an example of feminist discursive activism by "highlighting of oppressive discourses in online dating." Jess Zimmerman, writing for The Guardian, said that sites like Bye Felipe and similar efforts such as Nice Guys of OkCupid, Fedoras of OkCupid, and Straight White Boys Texting "aren't just parades of female spite: they're an important archival project showcasing the breadth of men's casual, online misogyny." The New York Post called the Instagram account "hilarious." Lane Moore, writing in Elle and Cosmpolitan, called it "the best new Instagram account for your gross online dating messages." The Young Turks in October 2014 broadcast a discussion critical of the internet shaming aspect of the Instagram account, saying that some men were jerks and women should just block them and move on.

TWEETEN 2018 HOW TO

Tweten said she wanted to "create a handbook for how to handle any situation when you're online dating as a woman" and that the book turned into an anthology of the "best – or worst, I guess" submissions she'd received. The book Bye Felipe: Disses, Dick Pics, and Other Delights of Modern Dating organizes the various types of men the inappropriate messages come from, "from Pickup Artist Peter to Michael Mansplainer and Trevor the Troll," analyzes the messages to determine what they have in common, and provides suggestions for handling them. In a story for Ms., Tweten wrote she created the Instagram to commiserate with other women, let men know how those types of messages felt to women, and "expose the problematic entitlement some men feel they need to exert over women in general." By December 2014 the account had 278,000 followers, by 2016 almost 400,000 and by 2018 half a million. Tweten started the Instagram to share and discuss such posts with friends and as "a way to make fun of men who tried to make us feel bad." Within a few days she'd posted a dozen submissions a writer for The Atlantic, Olga Khazan, stumbled across the account and wrote an article, calling Treten "feminist Tinder-creep-busting web vigilante" and the Instagram account became popular. You can't win." The commonality of the experience among the women on the Facebook group became an inside joke, Bye Felipe, a gender-flip play on Bye, Felicia, a popular meme for dismissing someone in an online conversation. But if you do respond, they also yell at you. Other women posted tales of similar experiences of men "turning hostile when rejected or ignored" including Tweten, who posted about one man who had messaged her the same OkCupid line three times over a month, and when Tweten finally responded "No," his response was "WHY THE FUCK NOT? If you weren't interested, you shouldn't have fucking replied at all! WTF!" Tweten concluded that "You learn that you can't not respond they freak out. One woman posted a screenshot of a message, "Asshole," that she'd received on OkCupid when she hadn't responded to an earlier message. Tweten was a member of a Facebook group for Los Angeles women. The Instagram account, started in October 2014, features screenshots of messages in dating apps forwarded by women who've received them from men. The Atlantic called the Instagram account a "crowdsourced menagerie of mankind's worst specimens." The Instagram account accepts submissions of "insulting, ridiculous and sometimes outright threatening messages" women receive in online dating apps and posts them for commentary by followers. Bye Felipe is an Instagram account and book by Alexandra Tweten the term became an internet meme for men "behaving badly" in online dating apps.

[ubu507]

Sara Mearns

Photo Credit...Trevor Tweeten/Seattle Dance Collective

[bouchrafadilresearch]

I went to see the Richard Mosse exhibition at the Barbican, on the recommendation of my class and tutor.  It was amazing! Immersive and scary. Very dirty and very human. I wish the audience could be extended to our politicians! This idea of extreme vulnerability was very touching and the close visuals combined with the sound arrangement, and the scale, made the film feel like a real experience. I am not sure how to integrate this inspiration in to my own practice, but I loved the approach and the journeys of the people involved and seeing the places they ended up staying in for whatever length of time.

[casimir0]

Democratic Republic of Congo - Richard Mosse

For the last three years, Richard Mosse has photographed in eastern Democratic Republic of Congo, a region in which a long-standing power vacuum has resulted in a horrifying cycle of violence, a Hobbesian “state of war,” so brutal and complex that it defies communication, remaining stubbornly outside global consciousness. The Enclave is the culmination of Mosse’s recent efforts to radically rethink traditional representations of conflict photography, drawing on artistic and documentary strategies in equal measure. The Enclave publication presents images shot by Mosse with a large-format camera, as well as selections from the 16 mm film installation presented at the Irish Pavilion during the 55th Venice Biennale. With both still- and 16 mm-cameras, Mosse uses a discontinued military surveillance film, which registers an invisible spectrum of infrared light. The resulting surreal palette describes these isolated, jungle war zones and the soldiers that inhabit them in disorienting psychedelic hues of scarlet, lavender, cobalt, and puce. Working with collaborators Trevor Tweeten (16 mm cinematography) and Ben Frost (sound design), Mosse has captured a landscape that is deceptively seductive, alluring. Ultimately, however, the resulting images and film map the otherwise invisible edges of violence, chaos, and incommunicable horror. At the heart of the project, as Mosse states, is his exploration of the contradictions and limits of art’s ability “to represent narratives so painful that they exist beyond language—and photography’s capacity to document specific tragedies and communicate them to the world.”

[lorierosephotography]

Richard Mosse - 5/4/20

Richard Mosse is an Irish conceptual documentary photographer who gained significant attention for his photographs of the war in eastern Democratic Republic of Congo using colour infrared film intended to create a new perspective on conflict. Mosse also made it into a film with cinematographer Trevor Tweeten and composer Ben Frost. 

To shoot his series, The Enclave, in the Congo he used a large format camera and the now discontinued Kodak Aerochrome film, which is a false-colour infrared film originally intended for aerial vegetation surveys and for military reconnaissance, such as to identify camouflaged targets. It registers light that can't be seen by humans rendering the grass and trees and soldiers’ uniforms in vivid hues of lavender, crimson and hot pink.

"His images from there often seem to skirt the real and the fictional, simply though [sic] their heightened and unreal colours. He has made the familiar seem strange and the real seem heightened to the point of absurdity. This is war reportage – but not as we know it." - Sean O’Hagan, writing in The Guardian

I really liked the colours that came out of Mosse’s work and wanted to recreate similar pictures with the colour scheme 

[william-lesourd-photo]

The Rencontres d'Arles – from July 3 to 8, 2017 - Day Four. Les Nuits d'Arles in the antique theatre. This is Richard Mosse, an Irishman, whose series "Heat Maps" and particularly the film "Incoming" about migrants, done with infrared military grade cameras has touched many souls in the open air theatre of Arles. Richard Mosse is the winner of the prestigious "Prix Pictet" in 2017. He is considered as the photographic artist of the moment by the Guardian, 🇬🇧 daily paper. This is what Wikipedia says about this brilliant photographer : "Richard Mosse (born 1980, Kilkenny, Ireland) is an Irish conceptual documentary photographer. In June 2015, Mosse became a nominee member of Magnum Photos. Mosse gained significant attention for his photographs of the war in the Eastern Congousing colour infrared film intended to create a new perspective on conflict. It was also made into a film with cinematographer Trevor Tweeten. This work was published in three books, exhibited in solo exhibitions, and won the Deutsche Börse Photography Prize in 2014. In 2017 his series Heat Maps, which includes the film Incoming (in collaboration with musician Ben Frost and Tweeten), had a solo exhibition, was published in a book, and won the Prix Pictet." _____________________ http://www.richardmosse.com/ _____________________ @richard_mosse @luma_arles #lumafoundation #majahoffmann #samstourdze #rencontresarles #lesrencontresdelaphotographie #arlesrencontresphotographiques #lesrencontresdelaphotographie2017 #arles2017 #arlesphotographyfestival #arlesphotofestival #arles _____________________ My albums on Facebook: https://goo.gl/3SuLaQ _____________________ Sony Nex-7 + Zeiss Planar 45mm f/2 © July 6, 2017 William Lesourd ___SUBLIMATING THE MUNDANE___ #france #france🇫🇷#francetourisme#france4dreams #provence#provencemylove #provenceguide#beautifuldestinations #provencefrance (à Les Rencontres de la photographie, Arles)

[thedaysofdisorder]

Ben Frost - Threshold Of Faith (Official Video) Taken from the forthcoming album 'The Centre Cannot Hold' - out 29th September 2017 on Mute. Recorded with Steve Albini. Video: Richard Mosse and Trevor Tweeten Shot in Reykjavík in 2016 Pre-order here 

[newsrustcom]

Review: ‘Frank Serpico’ Updates the Story of the Man Behind a Classic Movie

Review: ‘Frank Serpico’ Updates the Story of the Man Behind a Classic Movie

Photo

Frank Serpico, the subject of a new documentary that bears his name. Credit Trevor Tweeten/IFC Films

This movie’s intention is in its title. The documentary “Frank Serpico” fills out an American classic that is now almost 45 years old. “Serpico,” the 1973 movie directed by Sidney Lumet and starring Al Pacino, was an adaptation of a book by Peter…

[ivandimarcofotografo]

Richard Mosse: Incoming review – shows the white-hot misery of the migrant crisis

Barbican Curve, London The Irish artist follows migrants with a thermal military camera as they flee Syria, Iraq and elsewhere, turning them into a teeming mass of ghosts

Two years ago, Richard Mosse and his cinematographer, Trevor Tweeten, stood on a hillside on the border between Turkey and Syria and watched a battle unfolding in the Syrian town of Dabiq, 10km away. “We were able to see entire buildings on fire beneath glimmering minarets, the slow arc of mortars launched, rockets tracing the sky,” recalls Mosse. “By following the missile’s path, we could detect hidden artillery positions, and watch columns of fighters spreading out across fields, utility pickups with armoured turrets and the twin black flags of Isis.”

The military camera that enabled them to see the fighting close-up is designed to detect thermal radiation, including body heat, from a distance of over 30km. It is sanctioned as a weapon under international law because it is used for long range surveillance, and often connected to advanced weapons systems to lethally target enemy positions. It is this weapon that Mosse has adapted and used to trace the journeys of refugees and migrants from Syria, Iraq and Afghanistan, as well as Senegal and Somalia.

Continue reading... https://www.theguardian.com/artanddesign/2017/feb/15/richard-mosse-incoming-review-barbican-curve-migrant-crisis

[childrenofthedarkcontinent]

Richard Mosse and his collaborators, Trevor Tweeten and Ben Frost, traveled the Democratic Republic of Congo, taking video and photographs of rebel groups with Kodak Aerochrome film. Developed for the military in the 1940s, the infrared film captures greens in shades of pink and red and became popular in the psychedelic culture of the 1960s. • • • • 📸 Photo courtesy of Richard Mosse • • • • _______________________________________________________ #Congo #African #photooftheday #exploretheworld #traveling #travelgram #landscape #wanderlust #travel #kodak #pink #southafrica #beautiful #melanin #Africa #arabic #Inspirational #colorful #unicef #charity #Zimbabwe #beautifuldestinations #streetart #Love #conservation #africaninspired #beauty

[recommendedlisten]

Video: Ben Frost - “Threshold of Faith”

A few weeks ago, the enigmatic Icelandic-by-way-of-Australia experimental noise artist Ben Frost returned with a surprise EP called Threshold of Faith which he churned out over the course of 10 days at the Electrical Audio studio in Chicago with prolific rock (proper) auteur Steve Albini. It turns out this was just a tease to his audience, as a new full-length and the follow-up to 2014′s great A U R O R A is in close pursuit when The Centre Cannot Hold arrives at the end of September on Mute. Its first listen doubles as the opening and title track for both the recent EP and the new album, and if there’s one thing that is most obvious in its architecture is that unlike the compositions of A U R O R A, which sounded like raves taking place inside of atomizers or the birth of stars, Frost has redirected his attention toward a sonic magnification of his violent topography, revealing all of its deep-seeded abrasions and splinters. For its video, Frost once again collaborated with conceptual photographer Richard Mosse and cinematographer Trevor Tweeten for a blacklit visual that breeds this intensity in the way it zooms in on wet flesh connected to electrical probes as a study of surface and reaction.

Ben Frost’s The Centre Cannot Hold will be released September 29th on Mute Records.

[thebittersweetdistractor]

BEN FROST  “Threshold Of Faith” [Official Video]

Directed by Richard Mosse and Trevor Tweeten.   Ben Frost’ new Ep “Threshold Of Faith”, recorded by Steve Albini, is out now via Mute. Stream/Order it here.

[tinymixtapes]

Ben Frost announces new album The Centre Cannot Hold, seems pretty ready to SLASH YOU if you’re not on board with it

Surely some revelation is at hand; Surely the Second Coming is at hand. -W.B. Yeats Seems like only yesterday we were confidently telling you about how Australia’s most fearlessly experimental sculptor of sound (and facial hair) Ben “Yep, Ben Frost” Frost was surprise-releasing his apocalyptic new EP Threshold of Faith, on which he and Chicago’s favorite not-a-producer, Steve “Not-A-Producer” Albini, proceeded to spend two mad weeks slashing at speaker cones, assaulting amplifiers, overloading vacuum tubes, and violently tearing a handful of high-octane compositions out of Frost’s swimming head and searing them onto magnetic tape. I don’t know about you guys, but I figured that was pretty much the end of the experiment and that a worn-out Frost and Albini had arrived at some sort of…nirvana-like catharsis. NOPE. Frost is COMING BACK already, with the announcement of The Centre Cannot Hold, a new, full-length album of similarly-visceral sound design process experiments recorded “over ten days by Steve Albini in Chicago.” Due September 29 on Mute, this new 10-track attack on reason and composure “exists not in space, but in a space; it is a document of an event, of a room, and of the composer within it. It is music that is not fully controlled and appears to be anxiously, often violently competing against its creator.” It also (obviously) represents “an attempt at transcribing a spectrum of glowing ultramarine into sound.” But that’s not all. Along with the album announcement, Frost has also announced a fall your (starting September 25 in Essen, Germany and culminating in an appearance at Utrecht, Netherlands’s Le Guess Who Festival) and unleashed a new full-on video for the EP and LP’s opening salvo “Threshold Of Faith.” The hauntingly luminous and inscrutable visual aid (watchable down below) is the result of a “collaboration shot in the winter of 2016 in Reykjavík, Iceland with conceptual documentary photographer Richard Mosse and cinematographer Trevor Tweeten.” Keep a cagey eye out for pre-orders, and check out the minimalist and very appropriately-cerulean cover art and full album tracklisting right after the video clip. Then, after that? Prepare ye for the End of fucking Days before it’s too late. Things fall apart, readers. THINGS FALL APART. The Centre Cannot Hold tracklisting: 01. Threshold Of Faith 02. A Sharp Blow In Passing 03. Trauma Theory 04. A Single Hellfire Missile Costs $100,000 05. Eurydice’s Heel 06. Meg Ryan Eyez 07. Ionia 08. Healthcare 09. All That You Love Will Be Eviscerated 10. Entropy In Blue Ben Frost’s widening gyres: 09.25.17 - Essen, Germany - Maschinenhaus / Zeche Carl 09.29.17 - Brussels, Belgium - Bozar 10.04.17 - Paris, France - Le Trianon Biennale Nemo Paris 10.05.17 - London, England - Electric Brixton 10.06.17 - Berlin, Germany - Funkhaus 10.08.17 - Madrid, Spain - La Riviera 10.18.17 - Amsterdam, Netherlands - Amsterdam Dance Event, Muziekgebouw 10.21.17 - Prague, Czech Republic - Lunchmeat Festival 10.28.17 - Manchester, England - Transformer 2 Festival 11.03.17 - Turin, Italy - Club2Club Festival 11.11.17 - Utrecht, Netherlands - Le Guess Who Festival http://j.mp/2hFfED0