Projekt Seahorse a.k.a. Aaron Moun10 is known for his analog mixed-media art, which he performs live in real time. We interviewed him about his techniques and process in creating his real time masterpieces.
Lisa Rein: So how do you make your visuals? Is everything analog? Are there any digital components? How does it work?
Projekt Seahorse: I’m like a live band. I’m running everything from 4-6 different VHS players and two DVD players and two laptops, all into a video mixer, and then I’m sequencing all of it live.
LR: So your using that old video mixer?
PS: Yes I’m mixing it all live to the energy of whatever music artist I’m working with.
LR: So it’s still analog mixing then, when you are using that video mixing board?
PS: Yes. Analog mixing in real time….
Shamanic Dancer Lael Marie dances while Projekt Seahorse projects his analog video performance art. (Click to see a short video :)
LR: So Lael Marie will be performing with you for the first time at our Raw Thought show on March 11. I’ve seen you guys perform together during a practice session and she’s absolutely amazing; and the two of you together are quite impressive. How did you ever find her?
PS: We met at a party and she’s always looking for new progressive projects and events where she can dance, so I told her about Raw Thought.
LR: Yes she mentioned she was always looking for interesting collaborations, and said this was a dream come true for her, as she had been looking for a projectionist to collaborate with for a while. (I’ll have an interview with her up later this week!)
DJ Spooky will be speaking and performing at this year’s Aaron Swartz Day & International Hackathon Evening Event, in San Francisco, Saturday, November 10, 2018, 8pm. TICKETS
So, Oscar Micheaux was infuriated by Birth of a Nation, and so was the NAACP. What ended up happening is that they protested it, and created a whole dynamic where they would have almost riots and controversy. They actually invented the term “blockbuster” – because people would line up around the block to see the film.
There’s a lot of legacy in Oscar Micheaux because he ended up responding against Birth of a Nation by making his own film. His most famous film is In Our Gates…
In this weird Trump Dystopian Bizarre Feverish Lunatic Dream of White Supremacy that we’re kind of trying to deprogram out of, these kinds of films, and these kinds of gatherings, are where people from different perspectives, races, classes, come together and think: “How does cinema change our vision of things?”
– DJ Spooky, during his introduction for “Body and Soul,” at the San Francisco Museum of Modern Art, July 12, 2018.
Complete Transcription, Video, and “Trailer” of “Rebirth of a Nation”
DJ Spooky at the Creative Commons Launch, in San Francisco, December 2002. He is holding up an “Ad busters” flag.
From the transcription, DJ Spooky, Creative Commons Launch, 2002:
To make a long story short, when they asked me to do a piece for this, I was thinking about it. I am in the middle of about three different projects. One of them is “Birth of a Nation” I am remixing that. It’s an early D.W. Griffith film. And many copyrighted works that are pre-1920 are still accessible. The film makes kind of a statement about the ownership of culture, and of course, about ownership of memory. Collective memory.
So that’s the project that’s going to be associated with Creative Commons. What I’d like to do is show a snippet of it. I presented an early work in progress of it at the Castro Theater.
Essentially whenever you hear something and the idea is made, it’s always a sense of playing with memory. What I’m fascinated with in the Eldred case, is the idea of who controls memory. How can you recall an image or a sound that’s essentially part of a collective unconscious. How we think of things that just go through your mind every day and how you externalize that. That’s what DJing is about. It’s playfulness. It’s reverence for controlled memory. Reverence for the found object.
So essentially, that’s what DJing has become. It’s almost a basic fabric; part of the the fabric of contemporary culture. So, there’s that kind of thing, which to me it becomes kind of what I like to call 21st century – a new form of folk music or folk culture…
these issues, always migrate. You control one thing, the net will thread its way around it. And so on and so on.
That sense of control, one of the terms Larry always uses a lot, in his great book “The Future of Ideas” – if you haven’t read it yet; you should – is the idea of “creative co-authorship.” Being able to actually reach into a text and reconfigure it. And if there’s something we’ve seen throughout the 21st century, whether you are looking at the outside of things, or the underground or overground, it’s that sense of; whether you are looking at William S. Burroughs or the Jack Kerouac and the beats in the 50s, or the Dada scene in the 20s, or the early cinema people working with that, is that America has always been the place of “the mix.” But somehow, I think in the 19th century we were a net importer of intellectual property, whereas after a certain point we became a net exporter, and that’s when all these kinds of control issues come up.
These templates enable you to compel the Police and Sheriff Departments for a given City and County to hand over all documentation on all known surveillance equipment. (Including documentation and information regarding all software used and any data it collects and stores.)
The Aaron Swartz Day Police Surveillance Project is all about developing a larger strategy for determining what types of surveillance equipment a city’s police and sheriff departments have already purchased and whether or not a surveillance policy is in place to monitor that equipment – regulating how that equipment is used against their citizens.
This project started during Aaron Swartz Day 2017’s Sunday hackathon. Before that event was even over, it was clear that it had been really successful and we were all very pumped and had decided to just keep going until next year.
The results of doing so are just starting to pour in, and I’m going to be doing my best to give you the full story – both here on the Aaron Swartz Day website, and over on Mondo 2000, over these next few months, leading straight into this year’s event.
We just added two new templates (Zip file of all templates in .PDF, Zip file of all templates in .DOC) to our tutorial – one for Police Departments (City) and one for Sheriff Departments (County) – that include the use of facial recognition software, since it came out recently that Amazon has been literally giving away its facial recognition software to law enforcement, in the hopes of getting a number of early implementations. Not a bad marketing strategy, and we’re not saying the software shouldn’t be used; just that there should be a surveillance policy framework in place that regulates how it can be used against citizens.
Special thanks to Muckrock, without which this project would not be possible.
Lisa Rein has written a pair of articles in Mondo 2000 with Tracy Rosenberg from OaklandPrivacy.org.
Tracy explains the importance of the Aaron Swartz Day Police Surveillance Project, and its mission of filing public records requests en masse, in order to retroactively determine what kinds of surveillance equipment and software a city’s Police and Sheriff Departments already have.
We will have a complete tutorial with templates and step-by-step instructions, so you to start doing this yourself, next week.
For now, please read these articles to get a better idea of why this project is so important, for all of us, right now.
