Dec 25, 2017
angela

But I Guess, In The End, We Just Moved Furniture Around (Video Version)

This is a collaboration with David Pocknee and Richard Craig. It’s definitely David’s piece but he invited us into the compositional process with him. We met several times over the span of two years to come up with what this work ultimately became. It was just a lot of trying things out; a lot of looking at stuff and a lot of moving stuff around. David is good at combinations. I just love him. We You can find the score here (on David’s website). 

Oct 22, 2017
angela

Every Me and Every You

1. An essay like this works best if we’re all good-looking (reader, writer, critic). This helps with attraction.

2. I am unapologetically shallow.

3. No one ever learns anything, and you won’t learn anything here.
Essay below…


 
Continue reading »

Oct 17, 2017
angela

Not the Rodrigo Constanzo Story

My new comic is ready to be held by your delicate reader hands. I did the artwork and my partner Rodrigo Constanzo wrote the script. We didn’t give it a title, but it’s NOT called The Rodrigo Constanzo Story. It’s 32 laser printed pages on really thick, nice quality paper. 

Below, you can find the online version. If you enjoy it, treat yourself to a physical copy. It’ll come with a few stickers and Rod’s fantastic mac n’ cheese recipe on the back cover! Or if you don’t want a physical copy but still want to support this comic-making behavior, you can make a donation via paypal to angela.guyton@gmail.com (it would be much appreciated :) )
 
 
 
 
 

How do I get a copy?

Paypal the correct amount (given your geographic region) to:
angela.guyton@gmail.com
Make sure you give me your mailing address too!!
When you send payment write your address in the notes section.

 
£5 …….. If you live in the UK and you’re going to see Rod in person. (you can pay him in cash.)
 
£6.50 …….. If you want it mailed to you and you live in Europe or the UK
 
$9 …….. If you live in the New World (North & South America). It’s the postage that pushes this up–I’m so sorry! I just want to make five bucks for something that took me a crazy amount of time to make! Like, seriously, crazy. But yes, shipping is included in this price, and it’s coming to you out of either Manchester, England or Porto, Portugal (Basically wherever it is I’ve stashed them at the time you order).

 

And here’s the online version. Enjoy!

Continue reading »

Jun 3, 2017
angela

The Me That No One Sees

“…and what you’re shown is profound. Justin Timberlake’s Cry Me A River isn’t something we were prepared for in 2002. And since then, the methods used in creating such a sophisticated work have only improved.

Wasn’t it just a music video though?”

Read the full article I wrote on the FOCI Arts webpage. 
(Thanks to Ray Evanoff for giving my weird as fuck article a home, and to Rod for his amazing skills as an editor.)

Apr 20, 2017
angela

The wreck of former boundaries (music video)

 

This is a music video I made that features the electronic version of Aaron Cassidy‘s The wreck of former boundaries (“The wreck of former boundaries (2014-15) for fixed media 5.1-channel electronics”).

I asked Aaron if he wouldn’t mind sitting down with me while I filmed him. I didn’t know what I would make, but felt like I had enough kernal thoughts/feelings at the time that something not hollow would happen. I was sitting in a talk he was giving about his new work, and as he played this piece, I was struck by how he listened. That’s when it became clear to me that I needed to capture both of these things: his words and his listening. The rest of my ideas would hang on this as the material, or this would be the material through which I’d look into those things.  

This is the first thing I made out of that material: A music video.

For the most part, his reactions in the video are in sync with the sounds he’s hearing. It was important to me to preserve that. However, there are some time-stretch manipulations, and in just a few cases I cut in footage from other moments as necessary band-aids in the editing process. I also manipulated the footage in order to assist you in seeing what I see. I tried to do this as unobtrusively and subtly as possible.

It’s also worth mentioning that we ran through the piece only once. While I am very familiar with the piece (having listened to it many times leading up to this shoot) I felt it important to improvise the lighting direction. I have an almost metaphysical trust in improvisation, and enjoy the process of being in that kind of heightened state of awareness.

David Pocknee and Susie Green were my assistants on that day.
Susie helped with the gear and play-back audio,
and David helped me as a light operator, and by recording the interview’s audio. 
Thanks to them, and of course thanks to Aaron for his trust in my process.

(Here you can read Aaron’s post about it on his webpage.)

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