542,000,000 years after the start of the Phanerozoic eon comes the announcement of self-titled sound clip “Masters of the Universe - part 2″ by collaborative creative group The Russian Frost farmers. The video is a tad on the long side (13 but it’s got the usual psychedelic lo-fi meets shaman noise band sounds that are so prelevenant these days. Worth a look.
KHUAN+KTRON is a three person design studio based in Belgium, though its members come from all over – Japan, Russia, and, uh, Belgium. Their varying backgrounds is clearly a boon to their work, which shows a lot of influences. Actually, KHUAN+KTRON have helpfully listed some of these influences on their site, so we don’t have to guess at what they are – medieval torture techniques, people with monstrous sideburns (not counting women), and free jazz are just a few. Check out the full list on their site!
Richard Amsel (1947-1985) was a commercial artist famous for his movie posters, which include Raiders of the Lost Ark, Chinatown, and more. Having been discovered at 22 (edit: 21) when he made a successful proposal for the poster of Hello, Dolly!, Amsel had a fruitful career applying his hyper-realistic painting style to not only movie posters but album covers, book covers, and TV Guide covers. Amsel passed away in 1985 from AIDS.
D-Barcode is a Japanese design firm which apparently specializes entirely in designing barcodes. I wish I could tell you more, but I don’t speak Japanese and pretty much the only English on their site is their slogan – BIG IDEAS ARE SMALL, DESIGN BARCODE. Can any Japanese readers tell us more?
Carolin Reichert’s work deals with an inventory of the human memory as triggered by situations, encounters and objects referring to and rooted in the past, yet recurring and manifesting themselves anew in the present. She is interested in exploring the individual’s perception of reality and the role and capacities of memory and recollection within that process. The images portray brief moments, belonging to the past, frozen, re-framed and deliberately transported to their new context, with which they are at odds or incompatible, therefore ultimately dealing with the attempt, possibility and implications of visualizing ‘absent presence’.