The first film for Daniele Luppi’s new MILANO project--a collection of fictionalized stories about misfits, fashionistas, and junkies in mid-1980s Milan--Pretty Prizes is a chic New Wave-style mystery shot by British-born director Barnaby Clay, who has worked with the likes of Rihanna and David Bowie.

For this multi-song video, the New York-based filmmaker has created a beguiling visual narrative to accompany the composer’s new album, bringing together Yeah Yeah Yeahs front woman Karen O and Brooklyn punk rockers Parquet Courts, who perform the music that appears in this snapshot of sex, death and decadence—conjuring a Milan that was known as ‘Milano da bere' (‘Drinking Milan’). 

                                                                      “A snapshot of sex, death and decadence”

By turns psychotic and insouciant, French actor and chanteuse Soko, who plays the lead in the narrative film, embodies the vibrancy and stylish superficiality of Milan’s hedonistic heyday, when the city was infamous for its wild and often reckless nightlife. Clay explains: “The whole video rests on the juxtaposition between the upbeat feel of the song and Soko’s laissez-faire performance in accompaniment to the music.” ​

watch the video below:

The article is taken from:

​I am sometimes asked if I have any words of advice for young people.
Well, here are a few simple admonitions for young and old, man and beast.

Never interfere in a boy and girl fight.

Beware of whores who say they don't want money. The hell they don't.
What they mean is that they want more money; much more, these are the most expensive whores what can be got.

If you're doing business with a religious son of a bitch, get it in writing; his word isn't worth shit, not with the good Lord telling him how to fuck you on the deal.

If, after having been exposed to someone's presence, you feel as if you've lost a quart of plasma, avoid that presence. You need it like you need pernicious anemia.

We don't like to hear the word "vampire" around here; we're trying to improve our public image. Building a kindly, avuncular, benevolent image; "interdependence" is the keyword -- "enlightened interdependence".

Life in all its rich variety, take a little, leave a little. However, by the inexorable logistics of the vampiric process they always take more than they leave -- and why, indeed, should they take any?

Avoid fuck-ups. Fools, I call them. You all know the type -- no matter how good it sounds, everything they have anything to do with turns into a disaster. Trouble for themselves and everyone connected with them.
A fool is bad news, and it rubs off -- don't let it rub off on you.

Do not proffer sympathy to the mentally ill; it is a bottomless pit. Tell them firmly, "I am not paid to listen to this drivel -- you are a terminal fool!" Otherwise, they make you as crazy as they are.

Above all, avoid confirmed criminals. They are a special malignant strain of fool.

Charlene Hunter Gault interviews media theorist and cultural critic Neil Postman on PBS' The MacNeil/Lehrer NewsHour in 1995. Postman discusses new media and the "Faustian bargain" of technological change in the context of the "Information Superhighway" and the Internet.

watch the  video  below:

Das Netz is a German documentary directed by Lutz Dammbeck, a strange mosaic of the collision of covert history, scientific development, and popular culture. Ostensibly it’s about the case of the Ted Kaczynski, the brilliant mathematician-turned-“Unabomber” who between the years of 1978 and 1995 engaged in a bombing campaign against industrial civilization. Holed up in remote cabin in the woods near Lincoln, Montana he fashioned weapons that he then mailed to his victims, many culled from the ranks of the “Digerati” – the top-elites of the then-emergent fields of computing and information technology development. While many would be satisfied creating a linear narrative, a documentary snaking through Kaczynski’s life as a mathematical prodigy who lost his mind, Dammbeck choses instead to ask the question of why? Not satisfied with the charge of insanity, the filmmaker strikes out to navigate a twisty terrain in search of causation, something that would explain why an individual who was expected to become one of the leading mathematicians of our time would flee civilization to wage a protracted war against technology – the very force that trajectory of his mathematical fields was propelling forward. In the end, this question becomes a guiding compass in the loosest sense of the word, holding together an unwieldy array of facts and tangents that span decades.

 - Edmund Berger

watch the documentary below:

by Andre Perkowski

An excerpt from draft 5 of "NOVA EXPRESS"
a film by Andre Perkowski
based on the writings of William S. Burroughs

Readings by William S. Burroughs and Phil Proctor

music by Andre Perkowski with Fats Terminal at the Electric Organ

NOVA EXPRESS is currently three hours long and continues folding, shifting, and permutating.

Watch the video below:

In 1990, US writer William Gibson was a featured guest at the ARS ELECTRONICA FESTIVAL in Linz, Austria. Amongst other reasons, the festival was established to detect future trends in technology and society - and in that year dealt with the term "cyberpunk", which was coined to describe the work of William Gibson. The tracks shown in the video are restored footage from a VHS recording of the first lecture William Gibson gaveat ARS ELECTRONICA FESTIVAL in Austria.

Video: Chris Haderer

Watch the video below:

by Andre Perkowski

An excerpt from draft six "NOVA EXPRESS"
a film by Andre Perkowski based on the writings of William S. Burroughs
readings by William S. Burroughs
music by Kristin Palker & Andre Perkowski
Thanks to: James Grauerholz Oliver Harris Jan Herman Keith Seward Carl Weissner Giorno Poetry Systems realitystudio.org

watch the video, below: