Photography + Film
- Stripped State: Laurel Canyon Recordings (2018)
- cipher e/ dreams (2017)
- Almost X (2016)
- Sunrise Highway (2015)
- Particle Theory (2014)
- transient lines (2013)
- still echoes (2013)
- Reflected: 10×10 (2002-2012)
- :^D (2011)
- Hola, Sayulita! (2010)
- Goodbye Monday Blue (2009)
- Goodbye Monday #Bsides (2009)
- Stay Home v. The Love Shoppings (2007)
- Windfall (2004)
- [img] “Like my mother like makes me do the dishes / It’s like so GROSS… / Like all the stuff like sticks to the plates / And it’s like, it’s like somebody else’s food, y’know / It’s like GRODY… / GAG ME WITH A SPOON…” – Frank Zappa via Moon Zappa
- [img] saturday city symmetry
- [img] “Look at my stump speech!”
- [aired] DaCaLuF 341 – “Love in This Land”
- [img] “They German?”
- [img] sunday mornin’ comin’ down
- [img] sun + flake
- [img] may the light always find you
- [dispatch] 20190223.2013
- [dispatch] 20190223.stationary.chevy
- [img] “He’s starving his son!”
- [img] “…too much grape juice?”
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- 2018 (153)
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- 2015 (190)
- 2014 (365)
- 2013 (63)
- 2012 (52)
- 2011 (36)
- 2010 (25)
- 2009 (30)
- 2008 (9)
- 2007 (25)
- 2006 (2)
- 2005 (9)
- 2004 (15)
Category Archives: vid
with the kentile sign coming down, figured i’d revisit this lo-fi vid from 2011. shot w/ a nikon d90 during that year’s reconstruction of the smith/9th subway station from a manhattan-bound f-train. the video runs in reverse. coney-island bound is the other side of the tracks. everything about this track is inside out, tho, so it fit.
“Those pesky projection artists won’t touch my sign ever again!”- Ken Tilefloor, aka “The Linoleum Don”#dailykentile
Arc of Visibility: The portion of the horizon over which a lighted aid to navigation is visible from seaward.
Sense The Wind is an inspired project about people who find independence, affirmation and freedom by taking risks and abandoning notions of limitation. As such, my goal this week became to create a flat-out positive one-minute piece of music that moved in and out of the action of the film’s trailer.
I did not use any of the sounds from the trailer itself in the score, but the horn at the start of the trailer was in C-sharp, so the track settled itself into G-sharp (or “A-flat” if that’s your bag). Also, a manual tap-tempo of the race-starter’s countdown mapped out to 117.25bpm. This version for the Junto mixes in the sound of the trailer for context, and my finished trailer is here:
Jolie (custom Gibson ES-335 Dot-reissue), E-bow, bass and drums samples (loops and one-shots), Line6 Marshall JCM-800 emulator, Ibanez TS808 Screamer, tc electronic Flashback delay/looper, MOTU 828mk2, Sony Acid.
This week’s project is straightforward. It is an exercise in scoring for video. The video is one minute and four seconds long. It is the trailer to a film now in development. The title of the film is Sense the Wind and the director is Christine Knowlton. The subject of the film is blind sailors. The fact that film is about people for whom hearing is especially important made it very attractive. The director is excited to hear, and see, what we come up with. As her @SenseTheWind Twitter feed states of the film: “Blind sailors race across open water, learning not to fear what they cannot see — on boats or on land.”
The source video is here. It has all the audio, but no music:
Rules: The only restriction is that you should not employ any copyright-protected audio (i.e., source material), because the intent is for the director to select one of the tracks, potentially, to serve as the backing music for the trailer. And yes, you may certainly employ audio from the trailer as source material for your music.
I give the director permission to use my music in the trailer for the film Sense the Wind for promotional purposes.
More on this 71st Disquiet Junto project, which involves creating a backing score for the trailer to the film Sense the Wind, about competitive blind sailing, directed by Christine Knowlton, at:
More details on the Disquiet Junto at:
More on the film at
shooting the mexican cock for the mexican taxi network was snarf!
i was in liberation. har mar and chicken didn’t have to pretend; the acting was pure. their natural chemstree really let me focus on shotz.
“el casco de color naranja siempre me amo,” chicken confided in me (i always fall for the one in the orange helmet).