Synopsis
Blasting off into cosmic visual abstraction, pioneering computer artist Lillian Schwartz’s UFOs is a kinetic tour-de-force whose innovative pixel pigmentation showcased advanced stereoscopic technology as art.
UFOs
1971 Directed by Lillian Schwartz
Genre
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{{{DEATH BY THE TRIPLE MOON}}}
diana - selene - hecate
all bodies and the obliteration of forms
raw consuming my body's failures or my "failed" bodyi spent half an hour trying to clothe my body to attend a trauma informed care training while crying at my belly so for me it is no wonder why women would want to join/start a cyborg sisterhood for divestiture of form when we are submerged into an impossible culture of shame from birth that makes the gift of embodiment a constant trauma
lillian schwartz is amazing & a revelation to me and i want to eternally honor all of the women i am only starting to know who became cyborgs & made us more than…
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![nathaxnne [hiatus]](https://a.ltrbxd.com/resized/avatar/upload/1/9/5/2/4/3/shard/avtr-0-80-0-80-crop.jpg?k=6516bf4433)
kind of the ultimate four-dimensional psychedelic comfort afghan made for you by someone far away who loves you very much to pull over all around and slightly burrow into or pile over when you are cold or frightened or feel uncertain about the future and you need something right there in that moment that surrounds and whelms and makes ok for three minutes for three and a half minutes something that isn't just there but that is there for you so you don't have to be so you don't have to be anything other than something that can be with and be along with while it is and if it stops hopefully you can put it on again and maybe…
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radiation from the computers are hurting my eyes and i love it
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52 films by women 2020: 1/52.
Found this via nathaxnne here. It's always exciting when you find an obscure artist who's objectively important, because it makes it easier to sell them to people when you can say they were the first [x] or [y]. Lillian Schwartz's UFOs was the first computer animation made by an artist, rather than mathematicians or scientists. The editing techniques she uses are the prototypes of the ones used on desktop editing software to this day.
The possibilities Schwartz finds in computer animation are interestingly different from the ones artists like Michael Robinson are discovering now. Since "morphing" became the default thing for computer animators to show off with in the early '90s, the medium has…
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The real problem here is to rethink or think otherwise what Hollywood has up to this point done in the domain of the culture industry, to which cinema and television belong. For what it has done, it has done in accordance with a reifying schema, and by opposing production to consumption, that is to say: by putting analysis on one side (production) and synthesis on the other (consumption). Technology is giving us the chance to modify this relation, in a direction that would bring it closer to the relation of the literate person to literature: it is not possible to synthesize a book without having analyzed literally oneself. It is not possible to read without knowing how to write. And soon it will be possible to see an image analytically: "television" ["l'ecran"] and "text" ["l'ecrit"] are not simply opposed.
-The Discreet Image, Bernard StieglerAll hail the first computer animation by an artist.
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me watching a film nearly everyone on this website loves: this is shit
me watching some flashing shapes and colours for three minutes: wrow -
a pictorial proposal for the future (before its inevitable commodification through windows screensavers)
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Spielberg who?
I don’t know what this is exactly, but I feel like I shouldn’t watch it while wearing a Silver Shamrock mask.
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Love the way this moves, although I wish it had just a touch more structure, especially w/r/t the suddenness of the ending
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