3.20 Your Submissions

Transcript

Okay, so this is our submission zap. Yep, welcome to hang up. Welcome. Thank you for listening to our postgame show review. So yeah, this is like a new format. We want to fuck around with its kind of like group crit. Hmm, / like send us your work and we’ll talk about it. Mmm, so we’re playing having to play.

We’re playing around the first thing that like I thought about when we saw this work is this kind of like somewhat chilling like essay from a couple years ago from Genevieve. Felix Reynolds she did like these pretty determine what the works were. They were pretty cool. They were like those, those sculptures.

Yeah. Right sculpture as painting. Yeah. Painting a sculpture and sculptures and some like flattened skull. Yes. Yeah. And yeah, they were pretty like, serious and stone and they were in In there are up against Matthew Harris. There was in the front room with like really fun, silly like skeletons. Having sex and like yeah and I

was really dope. But then yeah. So she wrote the like catalog essay for her room for her room yet and like the last part. It’s kind of like this question of like but yeah. Anyway I have to fucking put these keys in an Uber package before we keep going.

Oh my fucking god. Alright, hit pause, on the recording, hit pause. Right? Let me try and approach this through another theoretical angle because the first two haven’t hit listening, you didn’t hear those. But episode 14, white pube, podcast, Instagram has ruined the art world. What? Now, and quickly summarize this,

I think the core of their complaint is like 97% of artists are on Instagram and it doesn’t serve us and therefore Fucking pissed about this. And I think that kind of fits into like what we’re doing today, which is like, yes, we contacted you through Instagram, the artist that submitted, but

we’re going to kind of take them somewhere else. Take them to like a medium that we think is better suited to like engaging with art. And this is like the first time. We’ve really tried this as well. Yeah, because every time up until now it’s been like we go on the train, would go to the exhibition, we go home, I have a sandwich and then we talk about

it. Yeah, so yeah, it will be interesting. I definitely like I’m sure everyone does when you have art on Instagram or you know someone Tech see something like it just is less saline unless it’s like a friend or something that really grabs your eye. Like you know, you just give it less space and less time than if

you actually there. You know, it’s less important in the context of the internet, everything’s kind of devalued. Yeah, a little bit mad at you, had a good point about that earlier. It’s like, it’s all mashed Shut up with like come to my party and like my grandma died and like you know, donate to this thing and like you know, this guy’s cancelled like it’s all sort of on the same flat playing

field as every other little update from everyone’s life. Yeah, I mean, I don’t know how, like, valuable it is to go like deep on like, anti algorithm stuff. Yeah, but yeah, maybe we are being a little bit like defeated by it. Sometimes I give you think

about. Just like, I don’t know, the eye. Not in its own space. Like, I don’t know, like you’re doing a few different things at the moment, and there’s, like, commercial constraints, there’s like budget constraints. There’s like, these external factors that can limit their, like, I don’t know, success of

the work. Like it’s not able to grow into what it would most ideally be because of something, right. We don’t have enough money or and Instagrams case like in the really like egregious ways. It’s like Your artwork can’t be seen by your followers because it’s a picture and not a video

or it’s like this and not a real or it doesn’t have these colors or it’s got nudity in it blah blah blah. And yeah I do wonder sometimes whether like we do have a bit of a defeatist attitude because like if you all like fucking artist 101 like you’re like I can’t hate on Instagram and like

rebelled against Instagram because I need Instagram and so it kind of is like cringy I hate on it because like what else you going to do? And like even we find that right? Like when we we might have love someone’s work and then we come home to record and there’s no Instagram and we’re like, fuck. Yeah.

That’s gonna be hard. Yeah, yeah, yeah dinner Yeah, I don’t know. I know like you, do you like take breaks? Yeah, I take break your back on. Right. I just yeah I just got back on as yeah. But famously, I take breaks. How do you feel being back? Looking back on? I feel a little bit like yeah bird-brained buy it.

I’m like I gotta get it like peck on the button again for today, but I’m being a bit more mindful of my like one hour limit. Now I used to just smash the ignore button like I’m on autopilot but now I’m like you know what, maybe that’s enough for one day and is it like

what’s the main motivation? Is it like artistically driven like I need to keep, you know, I’m trying to get this photo career thing going. I’m trying to push music. I’m trying to push like visual art. It’s like I want to stay in those mines and if like you know X photographer followed you, you’d be like sick. Like well kind of it’s like if some cool photographer followed

me I’d be like, fuck like don’t look at this. You know what I mean? Because I’m like, Posting like stuff that like, I’m not trying to sound smart, but they wouldn’t get it. Like, I’m, I’m not posting like I was at a Chanel event. Unlike his me cheersing. My like other sexy friend. It’s like no. Hey, by the way, like if I saw you do that, like, that’s cool,

like I’m jealous. So you got to do, you got invited but like, I’m posting like ugly photos of Plumbing. You know what I mean? Like, I’m not. Can’t help it. You’re just like doing Matt mode. I have to go, Matt mode. Yeah. Right. And so, I will make a professional like yeah. Yeah, I’m this is me. This is my work account but it’s still just my like, play around. Fuck around thing.

Like, I just don’t think we should take it that seriously. Yeah. Interesting cool. That’s my strategy. And do you feel any like one thing that was raised in this white pube article was like people creating like and it’s funny because it’s like a commercial side of it. Have you heard of like these like like groups and shit like create a group with a bunch of other like small influencers and then you’re like, I like your

work. You like my wife, like I’m sure like artists in a sense. Do that like yeah you know if you see your friends post or whatever you’re like there’s like maybe obligations too strong but yeah I ought to like yeah that’s and then just like we ought to tag each other back. A product of knowing someone in real life or online. Yeah but I mean more specifically if you know like

not if it’s like literally your friend like fucking at a party drunk like you’re in the sense of like you’re an artist and yeah you understand your kind of China? Yes. Lift each other up the algorithm who sounds like yeah. Do you feel any of that? Like you’re like I don’t love this. But like I should prep like, I’m helping. I’m very grateful to you my likes.

I’m like, I like your story even if I bail. Aw. Yeah, because because I want people to like my stories. Yeah. Such a like, hmm. I don’t know. We need something better. We need a review mod. We need a new model. Okay. And would you like to describe this? Yeah, I described as, I’m just gonna set it up with I’ma hit

you with a little bit of backstory. This is Olga friend of the Pod. We interviewed them few months ago. I saw their solo show philia at Tiles. And I guess, like, the central like one-line summary of that, is that it was about like

friendship, like the closeness and like significant of These like platonic relationships and they teased this work that would be upcoming at Paris and the Paris show was called solar and

that’s like the opposite kind of interrogation. This the like text of the Paris show is like, the Artisan solo think play think play with and share what it means to go alone. How can an artist working alone in a studio build community. And what experiences make us feel isolated and how can we find ways to move through them in ways?

That feel bearable or generative? So yeah, I think like this is these are like get some kind of big themes would also like super like you will feel these every day like every single day, you’ve got to be like lonely and by yourself and increasingly. So for in this age like yeah. Totally. Huh.

There was this. There are some stats about like how much time kids spend with their friends. Yeah. And it was like, it’s dropping all across the board. This is in America. So, if we have this, how much time they spend with friends, friends, they went, they like in 2013 from like 6 hours a week

down to, like, three hours now and it started before the pandemic. And it literally, there is no, there’s no line. Lifestyle or economic or like cultural factor that like influences, that number like Rich Kids, poor kids, everyone, it’s going down. Does that include like playing video games together?

Is that I don’t think it does. No, it means in person. Okay, so So do I get into the video games? I don’t want to get into the video games, put like that counts. In my opinion, playing Fortnight with your friends. It’s like sounds pretty you get half a point. You get yeah, you get no, let’s

make it one quarter of a point one quarter. Yeah. You got one quarter of a point. An hour with you in Fortnight as like, 15 minutes with you IRL. Yeah, probably. Okay. Love you so much and maybe that’s generous. All right, so we got one minute to talk about this work before I have to drop the keys off. All right, let’s go. Okay, so this is called Untitled and then in parentheses called

Dad vinyl on Wall. It’s a small. What would you call it? Is it a painting? 25 by 19 centimeters and it’s just text. All caps, L vertica. The dialogue is now one person and it’s like, right Justified. Yeah.

But like, is that rights right Justified? And it’s are right aligned. Yeah. Right. Aligned. So, all the margin is on the right? Yeah. Exactly. Check it out on us via tova’s Instagram for a guy. It immediately makes me think of like death. Like you that has died. Mmm.

Huh. Yeah, I didn’t my mind didn’t go there but I didn’t see the title and will you with help from the title? Yeah, the idea of loneliness is becoming like a sort of pervasive theme for everyone. I think like we do need to preach about phones anymore or

if the internet anymore. I think also like the sort of the, The Singularity the like the though The loneliness of being an artist is also like a big theme here for me. Yes. It’s like, even though you’re surrounded by this community, like you’re all doing your own,

you know, odd streams. Like you’ve all got your own, I don’t really see that many like group there are some, but it’s yes, common. It’s so much fun. There are some. But yeah for most it’s like the crunch time is. Yeah. My brain and my material and it by my goddamn self. Yeah, that’s the bulk of it, right?

Totally fucking Being quite scary. Yeah. All right. Why don’t you riff for a second? Okay. Yeah, it’s going to go and speak to a man about a dog about a set of keys. It’s right that.

So it’s difficult. It’s a really little opaque artwork. It’s not a simple as a catchphrase. It’s kind of like a declamation. Like I said of sad realization of something you could I don’t

know, does it? And does it have like the end is nigh energy to you like to think?

Yeah. The last of the last person you are Will Smith. Yeah. And I am Legend. Yeah. Favorite movie of the Pod. Did I tell you about? I came across that you might have heard of this sify called. I want to scream, but I have no mouth. Can we talk a little bit more, but I am Legend because it fits exactly with this gone to some extent.

Like the, there’s this big, like, sort of error of zombie films, right? Like we all know about the zombie films of like, what is it 2009 to In 16 or something. You could say there was like everything was zombies like Pride and Prejudice, and Zombies Will Smith with zombies zombie

Land the movie. It’s like zombies, but make it funny. 28 Days Later. Zombies were make it serious Shaun of the Dead. Sure. The Dead zombies to make it really stupid and funny. I know someone who is in that actually, that’s pretty cool.

I had this Theory, I’m sure this is already a thing but it’s like there’s kind of this Rising The wealth Gap and people are people are worrying about being the last rich guy left in their BMW and everyone’s all the poor people are banging on the Windows as you’re trying to go and do your weekly shop and they

become the zombies. Yeah. In their sort of metaphorical mindspace, I’d like the Will Smith one’s awesome. Because, like Will Smith has always been a vessel for what we think is cool. Especially in his Yeah. It’s like we were like, fuck

that school. Like, literally everything that he said in movies, was to be cool. Even when man was a goddamn fish, even when he was a fucking fish, we had to make him. Cool? And also that filtered, that filtered out into the real world for him, and that’s why he had this big explosion at what was

the thing at the Oscars or whatever. It’s something. He like blew up and he’s like, did you ever talk about my wife like that? Like that was, like, lines from a movie that he was riding like live, you know? Anyway, I think like Will Smith is a really good avatar for sort of people feeling cool, and like, they’re the first. What do you call it? Like, they’re the main character.

Yeah, she’s in life. And I think, like, that, that sort of zombie, it’s the zombies, like, it’s all the fucking. It’s the poor people versus me thing. Like kind of comes up when I think about this kind of sentiment of like just this increased, like, alienation sort of Island yes every man’s and I

am kind of world. Interesting. Yeah. It’s really cool. It’s interesting to like I can’t help but think of like the medium is the message over and over again. I’ve just been fucking caught on this goddamn hook for like a week. We’re not stuck on this. We’re still talking about. I’m in it right now. So we’re looking for full. What do you, what do you got

full disclosure listener? We’ve got like the work. The dialogue is now one person up on a TV, which is the Instagram post. And I can’t like, you know, Matt and I think about poetry and read poetry a lot. And I’m I think like most work I would always Advocate to be seen

in person. Mmm except maybe two caveats like video work. I wish you could fucking watch it on your couch. Yeah. Like I know why you can’t but like I just think it would be you know it could be really beautiful and it’s really hard to watch it in a gallery. Most of the time if it’s longer than like four minutes. And sometimes text work because

to be honest like I think text work. It is a hard medium to be to fuck with like it’s adjacent to poetry concrete poetry. It’s really tricky. Like this is really tricky like I find myself walking past it quickly but you know, kind of being at home right now and having it up on the screen like it’s kind of doing. It’s almost like we own it it’s almost like it’s been like

placed on math wall here and we really get to hang out with it. Hmm. We get to notice like I’ve been just looking at Like the shapes of the letters. Yeah. And it’s got some like some like you know, all those O’s in the center. Yeah. They’re like making patterns and it’s, ya know giving me some like old-timey poetry shit.

Where like the poet would fall in love with the shapes of the letters. Yeah, you know like where the letter is like a brush stroke? Yeah, it’s all caps, by the way, all caps and then there’s one kind of interesting grammatical Inflection like the dialogue is now one person.

Like I feel like it would be more natural in conversation to say, like the dialogue is one person now. Yeah. This is almost more like declarative or something. But yeah. Also I mean like there’s a fundamental tension or like impossibility there, right? Like a dialogue can’t be one person. Well, the the word dialogue

implies two parties, die. Die - yeah. So, You can’t have it one person dialogue? Yeah it’s cool. It’s nice it’s very pretty. It kind of does this. Like way that it’s starting to look for me where like the is now is sort of like holding the dialogue with like balancing it. Hmm. Yeah and the one just the word one it’s like upsetting all that

balance because it’s so thin. Can’t hold up all the text its own. Yeah now it’s like ready to topple? Yeah fuck yeah dude yeah cool. I like it. Good reading. Now I’m going to be stuck with this, so like thank you and that’s like some fucking cool. Cool old artist was like the

goal of painting is to make like memorable images and it’s really fucking hard. So if you like, have that moment, I like a song or a poem where like one of your audience is walking around and they remember a fragment. Yeah. Something you made like fucking good job. You succeeded. Yeah. This is really cool. Thank you for sending it in Olga. Thanks Olga. And yeah I think totally Yeah oh

yeah. One other thing I wanted to say was like it is interesting also to have stripped. This one work out of the context of the whole exhibition. Yes. Right. You know like we would never really do like that would be a really funny way to like he got a matter you walk straight ahead and you see that you like cool and they were like I’m out of here ladies. Yeah, I think this is the format

and I think this it’s where I think we’re going to enjoy looking at art works that you guys submit one by. I won like this. Mmm, Yeah trailer. Yep. All right. All right. On to the next ding.

Ding ding there’s one. Yeah, okay cool. Do you want to intro this one? Yeah, sure. Let me set up so I can read the stuff. So this was submitted by Clementine Bell MacIntosh and they are an emerging artist currently completing their honors in Visual Arts at Anu. Their work tests ways in which

we can connect to local environments through engagement in the gift economy. And Collaboration. By that was one of my like art. 1oo one philosophy questions. It was about like um, his art need to be made by a human cool. Cool. Not unlike knob knob ra.

Yes. On nails and artists. Yeah. Yeah, real bro. For real, they all look great. Our greatest artists truly, our most valuable. I just yeah agreed. So God is about, just your run is really Cool. Thank you for sending a few in we just picked one.

Yeah, which really jumped out to us because it’s quite unlike I think most of the stuff we see, or maybe it’s even be out like, you know, cause we go to galleries. This is work outside our galleries. Yes, kind of cool. Because we wouldn’t, you know, wouldn’t normally be able to talk about something like this? Yeah, there’s our work is called plant paper by industrial Creek

and it’s recycled recycled commercial paper, waste from Brisbane CBD. Biddy and native flower seed, mix, partially buried in a creek, bed, November, 20, 21, me engine. You’re wrong pili qld. So it’s like these sort of what would you call him?

Like flattened discs of this paper recycled paper. It’s like Pulp still basically. Yeah. Even I don’t know if it dried out or not with some native flower seeds that have at this point that the photos were taken, just sprung out to present their first little baby

leaves and then in the next photo they failed to establish. Establish with heavy. Lanina rainfall. Yeah. So we’re looking at like a series of three documentation photographs but I suppose the work just exists there. Yeah. Like in its you know truest sense. It just kind of exist there. And yeah it’s not sign posted as

it like an artwork. Yes. What’s this? That is a break, that is a break. Yeah, cute. Documentation. I really like it. Yeah, great. Okay. So, yeah. And I was reading a little bit about these little paper, I guess. It’s like, yeah, homemade paper and then it like, you know,

recedes into the soil and so you’re just left with the plants, just like that Matt has a very beautiful version that he is made. Okay? It is being coerced. Lee ironic. I’m just gonna take it in my stride never ironic.

Um, yeah. So I guess like process-wise is pretty interesting. Like it’s pretty extremely opposed to anything. You could consider like inside the traditional cycle of like galleries. Mmm. Yeah, you can’t buy this.

You can’t sell this, it doesn’t exist. Yeah. It probably doesn’t exist anymore. Right? Like a year ago? Well I mean it depends how you mean exist. It definitely doesn’t exist in this format anymore. It doesn’t look like this anymore. Not, yeah. So there’s a few things going on here. Like I think let’s talk about the existence question and the

documentation stuff at the end. Okay. But to start with it’s like the idea of these are all like kind of gathered materials and like repurposed and how Much more of a gentle way of operating and like creating that is like, if you think about someone going to Modern Times book shop and Art

Shop on King Street and buying a tube of what is it? Montmartre like really expensive. French pain. It’s like that’s already been like it’s been mined out of the earth and Africa and then it’s been processed in a factory in Spain and it’s been shipped to France and then it’s been tubed in China and then it’s been sent to Australia. Like probably, you know what the equivalent of and then you get to paint your Right.

Apple at work with it at nasse. Let’s say we always single out, NASA promise. We’ll go to the Ser hecho fucking not a student’s. You fucking love the Apple, bro. I love the Apple goes without saying, I love the apple. Look, I can, I can do both. I can do McDonald’s french fries, and I can do it. I shouldn’t even make it home grown. Yeah, everyone knows that.

I can stir that saying. I got rain. I feel embarrassed now that I had to point that out girl on continue. Wow. So It’s a much more Gentle Way of operating in summary today to

do that know. So, yeah, there’s to say and I think like also, like now that we have these gathered materials were like, again, we’re like not taking it to a gallery that has to have a utility bill and opposed to dress and for traffic, it’s like, no, it’s on the side of this Creek and it’s

open to the sky and like, Be just me and one of my friends and the camera and like the fucking snails and the birds and the bees say it. So it’s kind of like on on one hand, it’s kind of like at an extreme. It’s at the edge of an art scene like like, you know, this will

be shown and like people are aware of it, but it’s not like having something up in a gallery socially or in like this sort of in the like physical are Practice world, like all the spaces that we have available to us as like, yes, City dwellers to go and do I? Like there’s this kind of

concept in musicology that Christopher little. I think his name was Joe came up with called music King, which is like any time you’re doing something related to music. You’re, you’re at the front door of your friends gig selling tickets, that’s music King. You’re the sound person at the gig that’s music in your watching music at the gig that’s

music. doing this is kind of like opting for me in that sense like I mean that’s kind of obvious but it’s an adjusted it expands the sphere of hundreds of what you know like you were driving us home yesterday and you told us the story of like these 26 year old boys that you’ve seen like a couple times

like walking each other home and you like one of them fell off the scooter and his brother picked him up and the other one fellow scooter is brother, picked him up here and then we all laugh and we all like sit in that for a moment and we’re like, ah, like we all Understand like the gravity of that story and what it means and we’re reading it like an artwork and it’s humanity and it’s beautiful and then it just goes like then

the fucking song, Fades back in and you drop us off whatever and these Works kind of tap into something like that. It’s like yeah, like without saying what I will say it but like it’s ephemeral have ever all but it’s just it’s just so much broader and then at. But one thing that I always feel and maybe this is just me that comes along with doing stuff

like this. Is it’s like less cool because it’s less like you can’t show it off in the same way. Like it doesn’t smack over like it’s kind of like hippie are. Yeah and it doesn’t really it’s not that drive with the algorithm that well it’s not that sexy but it is fucking good

and it is really interesting and like I don’t really think this kind of stuff will ever be sexy and that’s okay. Because it’s not about fucking making sexy shit it’s about making like good art. Yes and that’s that’s the goal. Goal. Yeah I think mission accomplished here. Yeah, cool, cool. Very nicely done. Thank you, Clementine.

Thanks Clementine. We did also just for the record really like your other stuff but we’re sticking to one work for all the artists. Yeah. Everybody is one cool website. One iPhone per customer per day. Cool. Yeah. All right. On to the next. Who next? Oh, umm, be coming through with

the Banger, or this one’s insane. Okay. Do you want to explain your relationship to this person? This is like, what the fuck was that new word? Because I can you have you? What’s that like trendy new word for nepotism nepotism, baby, or whatever? Oh, yeah. That What is that? Fuck what was that?

Stupid thing, our is just Napa. Okay, cool. So the next artist is like, enjoying his nepo connection with me as my 14 year old fifteen-year-old stepbrother stepson. He’s not my steps, uh,

stepbrother. Shout out to Palm who sent us through a pretty low res image. Although I did see the highwomen Hi res image on his phone for, and it’s like, it’s intense, it’s cool, it’s on fire. Like, literally everything is Flames. We can see three dragons

swirling. This central figure who is of back rounded by these big like diamond steel looking panels. It’s like Microsoft Paint aesthetic. Yes, with flames. Licking up to the Central figure. I assume this was drawn in like

an iPad. But yeah, and yeah. And there’s also like this the dude in the middle he’s like he’s kind of wearing like ninja clothes. Yeah. And he’s like the brown dude and he has like white dress last of white hair covering his face and yeah he’s running some kind of like Gauntlet he’s like hero

mode. Yeah. The lines across the middle of the diamond kind of give me. I kept seeing it as like some kind of like a like a fighting ring like a boxing. Or something, but I don’t think it is. But yeah, those very like, he’s very like, like modern sci-fi crossed with fantasy like hero.

Traversing through hell yeah, owed. Yeah. Yeah. On hard mode on hard mode. Yeah, cool. There’s like action in this. Uh, when do we see action in a gallery? Very rarely. Yeah, I guess it does remind me a little bit of those. Have you seen? I’ve forgotten what the artist name is but they’re doing those like paintings of Scary guys

like pointing guns at you like ghosts cool. That’s really no, I haven’t seen that. There’s a pretty cool, but I kind of gives me that like it’s got giving like PlayStation Graphics. Like this could have been like a PS2 game. Here’s one level. Yeah, maybe a PS1. Yeah, it doesn’t look quite so pixelated in high-rise. Yeah, it’s cool. I really like it.

Yeah, it’s sick. It’s very like a cinematic as well. We’ve gone for like a 16 by 9 or even 16 by a to like an even thinner aspect ratio, which is sick. Like Like a lot of people forget about this kind of cinematic or true widescreen ratio.

Truly the Square rules our lives. Hell yeah, boom, good shit, good shit poem. Keep going. Never stop man. Will never stop. Man has always on job making work and showing me. He’s like here’s a shark with like red eyes and like his like version 1 and then an hour later, like knock knock on the door, like look at what I did to

her, that’s cute. Yeah and just moved back into the family home so he’s getting more time with the family. Sorry. Do you want to hit this? Yeah, let’s hit this. Let’s get a little bit of description in the messages. So our next artist is friend of the Pod. Also, another nepo connection.

Jake star, welcome Jake. These works are called a from to kill a cloud. And Jake has described them as a bunch of Google Earth images about designer, microclimates and planetary, scale programming. Mmm. What is that? What is that? What are those words?

So they sound like science fiction to me, but also like they might happen in our lifetimes. What do they mean? I don’t know what they mean. What’s this? Do you know what this is programming? Planet-scale is the MySQL compatible survivalist database, okay? That I know it. There was actually some academic

articles at the top here that. Oh yeah, that’s really right. There we go. Probably like this Google Earth planetary scale geospatial analysis for everyone. Google Earth engine is a cloud-based platform for planetary schedule. Planetary scale geospatial analysis. Yes, this is the mode right? Yeah it can also be a like a civilization building level,

right? Like it doesn’t necessarily need to be in a computer. All right. It’s like a Scott, a scale. So a planetary scale programming like for example the Hoover Dam what you know about the Hoover Dam, right? That’s like a big damn. So shout out Fallout New Vegas and the legendary battle between Kaiser’s Legion and the NCR over Hoover Dam right on yeah you got

it the NCR fought back Kaiser and Held control of the dam so they you Vegas, get keep, their water supply running and then you as a protagonist get to choose who you want to side with her, did you choose I side with either myself or mr.

House, who’s like this like old Tech billionaire? Who’s actually like a really old man whose floating in a tank and is represented as like a computer. I’ve never sided with the army or the the legion. I’m like an Independent and I can actually bring myself to

finish the game. Although, any other way, like I always go, Independent. All right, let’s go Jake from to

kill a cloud. These are a bunch of Google Earth images, about design of microclimates and planetary scale programming and they hit us with the cool sunglasses dude Emoji, do you mind if I peel back the curtain? Do you think Jake will mind and just say the last comment in this thread is never want to hang again sir.

That’s like of that. What you will? Yeah. If we can repair the The beef on this, it’ll be extra nice. That would be cool. But listen, if you, if, that’s if your mind is made up. So for me this is and this is the hardest to talk about in this sense in the sense of we’re not there in the space because

these feel like damn I want to get up close and and really take them in. Yeah but yeah I guess there is something to be said so these are made up of online Google Earth images and now we’re kind of you know you brought that into the physical world and now we’re back like looking at on our computer screen. Yeah. Why don’t you give us a little description?

They are two boards. Looks like with painted right? Go back with painted. It looks like augmentations over Google Earth. Imagery like maybe highlighting roads or proposed roads or imaginary roads, mountain

ranges. You know, geographical data River’s water tributaries. There’s also a reference on the bigger of the two artworks to the kind of grid style capture of the aerial imagery. So it’s like you’ll see a big

like this, for example, patch of green grass and it’s like been taken on three different days by three different like planes and three different cameras and its got like the yellow we grass when it was dry and then a greener grass in the wet season, like, they’re all Stitched together. So there’s that like Stitch is present here, too. And I think also not also, I think the sort of sum of all,

this is a kind of like experimentation of this, kind of drone Vision, overhead view, taking some things literally, and using imagination to create, and to erase details. Yeah, there’s a lot of like really effective abstraction

going on. Smaller work in the left, there’s like this, like, icy Mountain, aerial view, and then like the bottom two-thirds of the image are almost all white and I think maybe we’re losing some detail, just in the digital version. Yeah, but yeah, there’s this like really kind of yeah, stunning painterly like

abstraction over them, like they’ve been edited into like some of this fake beauty is coming through. Mmm, I think I like that one. That’s like the one that I’m more drawn to. That doesn’t have any of those like line markings Road markings. It’s kind of really clean but yeah, together really powerful.

And yeah, the days I get the greens almost like they’re like filters or like little. Yeah, I made does become very painterly to me. Mmm it’s a chore like natural subject. I think for today’s internet e artists like yes, just this abundance of megapixels on

Google Earth is just insane like the amount of Detail, you can look up and like now I’ve actually got a decent. Internet connection is a lot more fun, just like zooming around. Yeah, once a day or so I’ll just like pick a point like spinning a little globe. And yes, he’s like zoom in and see what someone’s Street in Minnesota. Or yeah, Colombo, looks like

aunt’s house by the River Thames. But these actually, like I think the point that I was getting as these actually come out, feeling kind of organic. Yes. Yes. That they’ve kind of been abstracted to me back into like a more sort of generous. They don’t feel hyper digital, you know? I mean I feel like I don’t have

this like critique or whatever. Oh man. It doesn’t feel like I’m oh my God. Like the tech is too much, or whatever. That’s definitely. Not. What’s being said here? Yeah, II. Don’t think know. Yeah. I’m getting that too. Cool. Hell yeah. Any closing words before we move

onto film? I just, I think like the just to go back onto this the photo stitches thing. It may Because I love stitched photography. Like just the the sort of like getting these details verbatim as like a framework to put your own sort of emphasis on other parts of the image, like getting the stitched aerial photography

verbatim and the mountain range like that shadow area. Just it looks exactly like how it looks. I mean Google Google Earth. I just love that kind of like art. Like you see this deep shadowy part on this one. Yeah and then also the the accuracy of these These stitches being like, she like, that’s exactly what it looks like on Google.

And I just think that’s a really beautiful. Like I would think of it as an intrusion of, like hyper real representation, with your own sort of juxtaposition of, like, yeah, imagination and censoring parts of the image and like, just, you know, I just think that’s really cool.

Sensitive way to go about this kind of hyper, real thing, hundred percent. If you and I see a pencil portrait of my girlfriend, like, It’s and she’s hyper real like yourself but like I’m like I hate it and you’re like, you hate it but I love it. But yeah no I’m great there’s a lot of sensitivity here like it feels like this is a theme

that’s been like worked on and worked on and worked on the and this is a like yeah it’s a really successful stage of this like whatever project or yeah but I agree I think that’s a really good point. Like being able to blend it and make it to me like to make some of these internet things feel like Like art like you know that there’s been some kind of

manipulation or to feel like that they’re successful with their like you know very even disappear visual success like that’s really important you know because yeah you can just fucking go and Google Earth. Yeah and like people do do that shit. Yeah people do that like for whatever reason like yeah it can be quite deflating like when we

are to be like oh it’s just the thing or it hasn’t been like doctored or treated or just not. Yeah, that’s me. Being worked on what was your word music King? Like it hasn’t been eating, it hasn’t been verb dope enough but yeah no this is definitely has so cool. Fuck yeah, good shit Jake. Thank you for submitting. Thank you for submitting. That’s the name of the episode.

Thank you for submitting submitting to Allah will Ian will cool and I finally a short film by Julian Hodge Aman Aman. Okay, I’ma hit you with it. It’s oh, Holly. Oh, Paulie. Now I’m Holly Berry family and impressionable girl and box on her first day in 1950s

Australia. Yeah, we’re just going to talk about, I think the first kind of sequence in this because we can’t do shot for shot and just By the way, I’m completely Cinema editor brain, pilled right now. I’ve been in this world. So I’m going to be gashing. Well, you know, live really leave the sound on a little bit,

really will sound is opening shot of a TV with the radio going old magazines of black and white. It’s all shuttered black or white 4 by 5 or 5 by 6. So that I’m some kind of square ratio. Old books old records. Okay, I know a character is on

the phone, she is twirling the phone call and touching her hair and arranging a date with the person on the other end.

In a really beautifully Joyful Way. That doesn’t feel like we still get excited when we go on a date. But it doesn’t get to be quite so yeah, this is challenging elevated 1950s. This is your first date. Yeah this is your first case. Yeah I do. Okay. So here it is. So these cuts are what I wanted to talk about. So, we have this cut of like

this, this setup of the character talking on the phone. Really excited to see her date for the night. And then just let it play for a second. I want to talk about this car that comes up. Wherever you want. I’ll meet you. Where have I don’t mind? Yeah, just let it roll.

Okay, pause, so she’s saying like seven. Yeah. Okay. Cool. I’ll meet you and then it cuts before we get to finish her sentence. That’s such a violence that cut a love it. Like it’s like this kind of jarring Jagged cut. We cut to a completely different composition of.

It’s just all you can see in focus is the characters like eye and nose eyebrow, she’s doing home. Cup and a little compact mirror. And then out of focus on the table in front of her, she’s got the makeup mirror sort of down low, on the table in front of her is a little clock out of focus, some other stuff Reflections in the table, a calm

calm seen a calm like assembly assembly of objects, but just the, the sort of contrast between the violence of that cut and this kind of calm senile of and it kind of sets up, it’s a sort of foreboding emotional. Prick, a sort of jab that sort of pays off, maybe I won’t spoil the film for you, but you can

have while the film. So the five minutes, the date never comes. So she ends up waiting at the diner for for the rest of the night. I think you should be proud of that. Cut Julian, that’s brilliant. Maybe we just watched the end as well. Yeah, the film is like, oh yeah. So what do they call that? Again?

They call it an intelligent montage, is what? But I just learned this last night, but it’s like, it’s the intelligent part. It’s just like the intelligent piping. Like, you’re cutting together frame or sort of shots that don’t necessarily visually come from the same scene. All like, like you’re sort of

supposed to intellectually draw, join the dots and I between them nice cheeky visual metaphor. So there was a bit of jump cutting of her walking away from the Failed date you. We can’t pass this but she like falls asleep. She’s like waiting and waiting away, right?

And then like, she’s like falls asleep. And then realize like, fuck. I’ve been sitting in here for like two hours. She walks home and now she’s on her bed. Yeah. And it’s got this like I think this is probably the longest shot in the film of her defeated coming home. Kicking off our shoes and she’s lit in this beautiful 1950s way with like a spotlight instead of like even room.

Lighting. No, practical lighting, which is just like, light bulbs on And it’s just a spot like a studio spot on her face. And it’s this long, long lingering, emotional shot. And then we cut to with some tissues and she’s sitting cross-legged taken her makeup on. Yeah. They’re like makeup wipes and this.

Yeah. This stuff is like, like, speaking on that Paris exhibition, like the solo, there’s just like, you’re not meant to be here as a viewer and that stuff like these like sad, like, that’s not fair. It’s really thin. It’s just like this crushingly said, Moment, Like This pure excitement, like your first day

and then all the feelings that being, like, stood up, conjures. Yeah. Like I don’t, maybe it’s happened to me once when I was younger. I don’t really remember but like that would put me in a I think a pretty tricky spot. Yeah. Like you’d be fucked. Yeah right. Yeah. And then it just ends there and we get like the old-school title.

Oh Holly. Yeah. Cool. It sort of plays like a. It’s it plays like Lana Turner. We love you. Please get up. Mmm like it plays like a Franco horror film poem. Very cool, very nice. Yeah Joe I love the framing, I love the composition and the

lighting like very authentically 1950s but not sort of overly Maudlin like it’s Not, it’s not sort of sadly nostalgic. It’s just like it’s in the 50s and it was shot in the 50. Yeah. That’s what they’re saying. That’s kind of like a Sydney. It’s almost feel like a bit of a

Sydney like joke. Yeah. Able to go to like all these like there’s like a shot outside, like the diner and the shot outside the Ritz, or something rich, and then a shot, and it’s like home of Celluloid film. And then shot outside, like, cafta Wheels. Yeah, like always like organically vintage Leah spots. Yeah.

So there’s this like, Well kind of yeah like inside joke of like how like you know these locations. Yeah and then like frustratingly or not frustratingly, there is the one scene where in the background you can see like a couple 2020s like a guy like in a cat. Yeah. In the background if you squint hard yeah which is kind of like to me like I would like to read

it as part of the scene. Like it’s just kind of this like funny joke. Yeah like this mishap that will always be there. It’s like fuck it. We’ve already printed. It is too late. Now yes. Yeah, I’d like fuck it. Leave it in dude. Yeah, for sure. I also like just like one more narrative moment. Is that before Holly goes on the date she like meets up with her

friend like excitedly for like some last-minute reassure him talk. Yeah. I fucking love that idea. Yeah, that’s very cool. That’s very sweet. And I’ve never seen that in a movie before. It’s like you get ready. Close the door. You’re on the day or something, you know, like, yeah. That’s very cool. Mmm, good screenplay, a really nice like treatment of like

Stood up date. Yeah. Totally and yet very like Sydney mode. Yeah. Very Sydney mode. Fuck. Yeah. I think that was a fucking win. Dude. I had a lot of fun. Going into those Works me too. Yeah, send us more. Please send. Yeah. Yeah, cool. We will talk about your works. If you send them to us,

guaranteed, guaranteed 100% pretty much guaranteed guaranteed. Yeah, pretty much guaranteed. It’s guaranteed. We didn’t talk about today. It’s like it. There’s five more people. We have to talk about. Okay? We’re not going to talk about, right? Yeah, we are like it sucks. We are going to talk about it.

You just go like 30 seconds. Okay, cool.

It’s a guarantee. It’s guaranteed is that

guarantee to you that we will talk about your artwork. Can we have like a flag us if you don’t mind like, harsh criticism? Yeah, sure. Yeah, that’s a cool. So, it’s like, check this checkbox. If, if you don’t mind us, going check this box. If you can handle the heat, I think it has only and leave it unchecked. If you want to be, if you want to go easy mode.

Will just go. It’s nice. I think it’s nice. Oh yeah, you can select your difficulty. You’re at about one giving nightmare mode. Yeah, I’m going on that method. No, respawning C mu star with no weapons and no bonuses. Yeah. In real life and you wait and you die on the Pod. You die in real life.

All right cool. See you next time. See ya. If you would like to submit an artwork to be on the Pod, please just message at hung up the day, you with a picture of the work, a short description, your pronouns, and what difficulty setting you would like to play

on.

Show notes

lil bonus ep where we do live reviews of submissions by: Olga @osvyayova Jake Starr @j.starr.io Clementine @clementinebelleart Poom @ix_pxxm Julian Hamman @julianhammanmedia