Samantha's band, the Zettabytes, is meeting with little success, so her friend Roscoe uses his knowledge of technology designed by his father to create a holographic lead singer, Loretta Modern. The band instantly becomes successful, but Samantha begins to feel alienated, Roscoe discovers feelings for Samantha, and Loretta struggles with individuality.
They manage a cultural venue. He believes in technological evolution. She believes that love is static. One last exhibition and one last show.
Are videogames art? Do they influence violent behavior? What effect have they had on society? How would you describe videogames to Leonardo da Vinci? These are always great questions to start a conversation. Pixel Poetry is a documentary film about progressive creative culture as it has been championed by one of its greatest advocates - videogames. Using popular debates that have long surrounded videogames as a catalyst for this, the film will analyze the misunderstood notions and arguments in art and technological advancement to bring a new perspective to a compelling discussion about the evolution of its meaning.
Hand-drawn and hand-colored on a pixel grid, the film is a meditative evocation of medieval stained glass windows.
When pixels enjoy themselves.
Hollywood movie transformed through digital intervention.
Kiko, constantly being hired by Lily to upload videos on Deep Web for a pay-per-view website, was given a task to upload a mysterious video which origins they do not know of, but would be a sure hit once it is up. Ever since he viewed the video, he's been receiving ghost calls and constantly feels like someone is watching him.
Video game experts are recruited by the military to fight 1980s-era video game characters who've attacked New York.
Meet Hal Lasko, mostly known as Grandpa, a 97-year-old man who uses Microsoft Paint from Windows 95 to create artwork that has been described as “a collision of pointillism and 8-Bit art.” Lasko, who is legally blind, served in WWII drafting directional and weather maps for bombing raids and later worked as a typographer (back when everything is done by hand) for clients such as General Tire, Goodyear and The Cleveland Browns before retiring in the 1970s. Decades after his retirement his family introduced him to Microsoft Paint and he never looked back.
Made with found footage treated with a Fairlight Video Synthesizer and text to voice technology, this work—narrated by a pair of mechanized voices—explores how pre-Socratic thinkers looked for a reasoning founded in nature, which later developed into science.
In this documentary about low-budget filmmaking in upstate New York, you'll learn how affordable digital-video technology has changed the lives of the artists behind action flicks, monster movies, nonfiction stories, and comedies. "Every Pixel Tells a Story" introduces viewers to a wide range of independent filmmakers, all of whom prove that with a little ingenuity, access to the right technology, and plenty of tenacity, filmmakers can still practice their craft 3,000 miles from Hollywood. In fact, "Every Pixel Tells a Story" is an example of what can be accomplished on digital video. Producer-director Peter Hanson shot and edited the movie in a matter of weeks using a camcorder, a computer editing system, and a $30 microphone from Radio Shack, all while spending a fraction of what the documentary would have cost had it been shot on film.
Sort of a portrait of the videomaker Anne McQuire, who surfaces midway from this waterlogged landscape of El Nino disasters to dispense charm and chocolate within the confines of her concrete office. There is also a flood of imagery that flows in and out of art museums, viewing facilities, and eateries that are perpetually haunted by yours truly along with the spirit of hoboism that feeds on apple pie America.
In a future decadent world where "the Program" terminated with creativity, humankind has taken refuge in virtual reality to live their dreams and adventures as the real world falls apart.
"Little Movies" is a lyrical and theoretical project about the aesthetics of digital cinema, and a eulogy to its earliest form--QuickTime. The project began in 1994 when the World Wide Web was just beginning to gain mass exposure. Manovich's intention was to create cinema for the Web, employing the network limitations as a new aesthetic. The project was begun in 1994 when the World Wide Web was just beginning to gain mass exposure. From the beginning, my intention was to create cinema for the Web. I wanted to turn the network limitations into a new aesthetic. Is it possible to create films with the resolution of 1 pixel? Is it possible to have a meaningful and an emotional experience under 1 MG in size? This "Little Movies" Web Site presents Volume I, and contains six movies, created between 1994 and 1997. All movies are set to loop indefinetely. You may click on a movie at any time to go back to the catalog page. -Lev Manovich
The Year is 3001 and the ancient art of remix is being oppressed by the evil tyrant Moses and his Copyright Commandments. Meanwhile, in a secret base-camp on the moon a team of Pixel Pirates plot to overthrow Moses via their latest scientific discovery - video cloning. Their plan: travel back to 1955, abduct Elvis and bring him back to the future. They then clone Elvis and send the Video Clone back to 2015 to assassinate Moses, altering the course of VHS history. But first the Elvis Clone must face-off against the Copyright Cops and every action hero that MGM can throw his way.
Pixel Pinkie is an Australian,Canadian and British cartoon produced and created by Blue Rocket Productions in association with the Nine Network and principally funded by The Film Finance Corporation Australia. It started airing on 29 August 2009.
Meg, Nicky and Usman's lives all revolve around their obsession for the massively popular fantasy game "Kingdom Scrolls" – a mystical, magical and most importantly virtual world of wizards and wyverns. But when gaming n00b Russell bumbles into their team, the group find themselves increasingly forced to deal with the real world.