다케시 무라타
Такеши Мурата

pink dot

source: eaiorg

In Untitled (Pink Dot), Murata transforms footage from the 1982 Sylvester Stallone film Rambo: First Blood into a morass of seething electronic abstraction. Subjected to Murata’s meticulous digital reprocessing, the action scenes decompose and are subsumed into an almost palpable, cascading digital sludge, presided over by a hypnotically pulsating pink dot.
.
.
.
.
.
.
.
source: rhizomeorg

This piece comes from Murata’s body of work that pioneered the highly influential practice known as “data moshing”. Murata edits and strategically removes certain data from from .AVI digital video files, creating undulating and living fields of video, here the source being the 1982 Sylvester Stallone film Rambo: First Blood.
.
.
.
.
.
.
.
source: madmuseumorg

Underlining the temporality of nostalgia, memory, and narratives crafted through cinematic pop culture, the American artist Takeshi Murata has constructed a body of animated works that explore the lifespan of moving images and their role in the shaping of shared cultural histories.

Whether abstracting footage culled from 1980s blockbusters like Rambo into a vibrant slurry of sight and sound, or slowing down the introductory credit sequence of the 1970s sitcom Three’s Company to a cryptic melancholic pace, as well as reworking the melodramatic prize package revealing moments from the game show, The Price is Right, Murata employs a variety of animation processes to highlight the decay of media narratives.

Presenting the largest collected works of this vital new voice, Takeshi Murata : Mortality surveys Murata’s innovative practice. Utilizing these forms of cinema as material, Murata skillfully manipulates pop culture iconography, not for irony, celebration, or critique, but as a requiem for the mortality of the images of our time, a reminder of the impermanence of mass media and the fleeting lifespan of cultural significance.
.
.
.
.
.
.
.
source: cylandru

Это одна из целого класса работ Mураты, который породил на свет весьма влиятельную художественную практику, известную сегодня как «data moshing». Мурата редактирует и осмысленно удаляет некоторые данные из видеофайлов .AVI, создавая волнистые, оживающие поля видеозаписи. Источником для данной конкретной работы послужил фильм Сильвестра Сталлоне 1982 г. «Рембо: До первой крови».