Last Thursday (in Fragments) - "Interpretation"

"Everything is to be had at such a bargain that it is questionable whether in the end there is anybody who will want to bid."

Tape Extracts:

Don Chambers: Andrei Tarkovsky talks a lot about poetics in film and the idea that he's making something that, the interpretation has as much to do with the audience as it does to do with the filmmaker and that they are trying to make a piece of art that, a piece of film, that is participatory and he's not giving you. It doesn't have a, it's not telling you what it is. It's allowing you to make it something. 

I don't believe any technology should be a limitation. Dylan was a huge influence on that early on. I admire people who are willing to follow what's important and the monetary part of it is really not all that interesting. It would be lovely, but it's not interesting and it doesn't make good art. It might make a cooler looking video or get into a better studio, but...

It's Werner Herzog who, he talks about, he stole the camera from his film school to shoot his first movie. This kind of we've got to do this any way we can possibly do it and if you don't have the burn to be able to do that then you won't do it.

Garrett Tiedemann: The films that you did for these, did you make them or did you have other people help you make them?

Don: I made them. They're all over the place though. Some of some of them I filmed, some of them I took YouTube stuff and messed with it, mashed it up together, so it's a little bit of it's kind of across the board.

Garrett Tiedemann: And then when you play them would they be background or would they have their own place where the point was just...

Don: No they would have there they would have their own place.

Don Chambers (in film excerpt): I was recently hired to copy the Encyclopedia Britannica. My name is Jobez Wilson. I'm a pawn broker. My assistant recently drew my attention to an advertisement in the paper for an opening in the League of Red Headed Men. A foundation established by the late Ezakaya Hopkins to promote the interests of red headed men by paying them to perform small tasks.  As my pawn shop had been in decline of late, this was a welcome opportunity. While there were many other red headed applicants waiting in line the day of the interview. Miraculously I was hired.

My job was to copy the pages of the Encyclopedia Britannica. I only had to provide pen and paper.  I went home that evening in high spirits, but soon became perplexed. This must be some kind of hoax, or fraud. He's paid so well for such a simple task. This copying the Encyclopedia Britannica. 

Well, the next day I arrived to the office at ten o'clock and everything was as it should be. Duncan Ross, my employer, started me off on the letter A and at two o'clock bid me good day and complemented me on the amount I had written. Every day I work a four hour shift copying and I was paid handsomely. The only stipulation of the job was that I must not leave the room during my shift.

Every day was the same and it suited me well.

Eight weeks later I was nearly finished with all the A entries and looked forward to moving onto the Bs when it all stopped. I went to the office that day only to see a sign tacked to the door. I was disappointed, I was confused, bewildered, so I turned to the only man in town who I thought could help.

Don: Second month was random. It was the theme. Pretty sure that's the month that I just with my iPhone I filmed clouds in the sky and for like ten second pieces of clouds in the sky. And I did that for the month. And then at the end put that all together and coupled it with some Charles Fort, the guy who wrote the first book that was all about anomalies and he collected frogs falling from the sky and you know just strange anomalies so I kind of mashed those two up together just to bring up some ideas. 

I've gone through periods of time where I wished I was someone who could just get a job, buy a car, and have a nice house and come home and we'd have dinner and then we'd watch a movie and then we'd get to bed and you get up and do it again the next day. 

Last Thursday (in Fragments) - "Making up a mystery"

"Getting lost is the best way to find something."

Tape Extracts:

Garrett Tiedemann: The ability to film and photograph so easily has created this thing where we are always at a distance in this ever need to document that we were there to begin with. But then you can't actually, even in being there, you can actually talk about what it was to be there so you can't narrativize it, you can't put it into your own story. That's what's really interesting about what you did. You created this microcosm of moments that people can then turn into their own story.

Don Chambers: Which is going to be better than what they were at. 

It was like I set up a thing that I wanted to do. Initially it was only going to be three months and then it turned into the longer thing. Initially it was just going to be a winter thing. Even though it was crazy, from my point of view the first one was like beautiful and a fiasco. It had moments of beauty and moments of like utter terror. But, I was I want to do that again was my immediate response. I want to do it again, I want to get better at it. At this point I want to be a lot better at it and I'd like to do. But, that's down the road at this point. 

The one thing that this did, the whole process did, was it didn't allow me to write. I wrote, I mean I wrote I was writing for the thing, but I wrote like two songs last year which in my work mode that's basically I took a year vacation from songwriting. And so I was really hungry to get back to that, which is what I'm involved in now. 

You always want everything to come out exactly how you imagined it in your head. And of course, that's never the case. The best part of the Last Thursday was, or one of the things that I took away from it was that reminder of like, making art is not, you don't sit down and plan it out and then six months later you made what you planned out. If you do that, you'll be bored out of your mind.

Although, that was not my intention when I was doing the Last Thursday, but it was a good reminder of even though I thought I'd left things pretty open ended, it was a good reminder that if you're doing something that that has some life to it then it actually has its own consciousness about what it's going to do that you cannot control at all. And so that's when you're caught up in the thing and that's where the good stuff happens. That's where the sandbox is for you making something is when it's too much and you don't understand it. And. It's creating its own ideas. That's what you want to do in general whatever you're doing if you're a painter or a song maker or whatever. I mean it's all about getting outside of yourself. And If you can't get to the sandbox then you're the the person who planned something out, executes it, and that's great if you're a chef, but it doesn't work for art making. Then there's no strings showing, there's no vitality to the thing. 

I've written plenty of songs that I knew as soon as I finished them, oh it's nothing more than what it is. It doesn't have any mystery in it because I didn't allow it to become wild and run away and do bad things and become out of my control. I need to not understand what I'm doing in order to make. 

That's kind of key to what I do. 

Making up a mystery that I don't understand and then playing around with it some and then if things go well it'll give me something back and I think this whole thing did that and gave me things back. 

Getting lost is the best way to find something.

Last Thursday (in Fragments) - "No photography. No video."

"We must expect great innovations to transform the entire technique of the arts, thereby affecting artistic invention itself and perhaps even bringing about an amazing change in our very notion of art."

Tape Extracts:

Don Chambers (from show recording):  For whom the phenomenon was supposed to have been presented to itself, had been caught cheating time and again. I believe in a hereafter and no greater blessing could be bestowed upon me than the opportunity once again to speak with my sainted mother who awaits me with open arms to press me to her heart in welcome. Just as she did when I entered this mundane sphere.  

Garrett Tiedemann: I find myself asking this a lot because it's part of the main thing that I've been thinking about, looking at all this stuff, but is that film out anywhere or did you strictly make it to be shown that night.

Don Chambers: I strictly made it to be shown that. 

Don Chambers (from show recording): There is one thing I'm going to ask for cooperation with and that's, a little later in the show, I'll remind you again, a little later in the show we're going to need complete silence and complete darkness. And therefore I'm going to ask you to turn your cell phones off, put em' in your pocket, put em' in your - not now, but a little later; you can still check your twitter account or whatever for the next thirty minutes or so, but at some point we're going to ask you not to leave the room for a brief period of time. 

Garrett: It's one thing to do performance, whether it be  music or spoken word. And then it's one thing to kind of combine. It's insanely complicated to put it all together. 

Don: You should have told me that before we started.

Garrett: Yeah I know. What drove you to go for it all? 

Don: I've never seen a show like that. I've never seen a show that could put all that together and I kind of just wanted to see if I could make it happen. You know, I think one of the takeaways from this is we probably needed about four people behind the scenes making this all happen if you wanted to do it on a less discombobulated, less less mistakes level. But, the fact that most of the time it was John and I doing all the heavy lifting meant that there was this random thing that fed through all of it.

There was definitely random mistakes that happened in every single one, of course. But, the reason I wanted to do it in the first place is because I hadn't seen anything like that. I like a lot of different things. I just thought, why aren't why are shows. For one thing most rock shows are for bands basically doing the same thing or three bands and they're basically doing the same thing for the evening and you like one you don't like the other whatever, you like all three of them. 

But, why not make a...I wanted to make a contained thing that started at a certain time and ended at a certain time. That's another big thing about Athens is our shows here really start at 10 or 11 and they end at 2:00 in the morning.

Now that has its has its own built in. There is a theater to that. But it's, but it's a long drawn out theater that doesn't really like. I'm older now, I kind of want things I want to go in and get something really good and then get the hell out of there. And that's what I was trying to build. 

Doing it this way, the audience never knew what was going to happen next.  And I really like that aspect of it.  Of course, the flipside of that was sometimes I didn't know what was going to happen next.

[from a recording of the show - John Barner is introduced to read An Halloween Poem to Delight My Younger Friends by Leonard Cohen]

Fewer and fewer moments that happened that you can't say I had this wonderful experience. Here's a video of it. And, to me it's not nearly as sexy not nearly as fun as just experience something and being able to talk about it. And. And. The only thing the person can experience from it is your enthusiasm or your wonder at having been a part of it. And. I'm much more interested in that. You know, I like going to shows where they have no photography no video signs on the walls because I want everybody to be present. I want to be present and in the moment of the thing happening.

John Barner (from show recording) reading An Halloween Poem to Delight My Younger Friends by Leonard Cohen:

Impassive frogs, skins stretched taut,
grey with late October,
the houses down my street
crouched, unaware of each other.

Unaware of a significant wind
and mad children igniting heaps of rattling leaves
and the desperate cry of desperate birds.

Dry, stuffed, squatting frogs.

I don’t know where the children got the birds.
Certainly, there are few around my house. Oh,
there is the occasional sparrow or robin or wren,
but these were big birds.
There were several turns of parcel twine about
each bird to secure its wings and feet. It was
that particularly hard variety of twine that can’t
be pulled apart but requires a knife or scissors
to be cut.
I was so lost in the ritual that I’m not sure if
it was seven or eight they burnt.

(“The effluvia of festering bodies was so great
that even the Mongols avoided such places and
named them Moubaligh, City of Woe.”)

Soon they grew tired of the dance
and removed the crepe-paper costumes
and said prayers and made laments.

It was a quarter-to-nine
when one bright youngster
incited the group to burn the frogs,
which they did at nine.

(Now that I think about it, the birds
must have been pigeons.)

If one of Temujin’s warriors
trapped a deer to eat,
it was forbidden
to slit its throat.
The beast must be bound
and the beast’s chest opened
and the heart removed
by the hunter’s hand.

Last Thursday (in Fragments) - "It was, in some ways, a total disaster"

Certain that she had made a good painting at last, she pedaled home from the studio in the moonlight, fervent and giddy with glee.

Tape Extracts:

Don Chambers: The first month, so I had never shown a film at Flicker before, at the place we did the thing. And the first month I got there and they're like oh well this cable doesn't work and this one doesn't work and we don't have a laptop. So I ended up, like, at the last minute, an hour before the show started, I drove around and someone said that I could borrow their laptop and I drove over to their house and they weren't home anymore.

So, then I ended up going to my house and getting my computer, bringing it in and setting it on a chair and just showing the film on the computer. And I didn't even get there until after the show had already started. So it just kind of set this tone.

People seem to enjoy watching someone else in a slight state of panic. I found myself, I did, I found myself at least for the first three or four months...then there was sound. You know one month the PA just didn't work; halfway through the show, stops working.

And you're trying to do this show that I was really thinking of, I wanted to present, like, to create an atmosphere. So those interruptions for me were terrible, but from an outside point of view audience people were like: 

Oh that was great. I loved it that that happened.

Oh really, well I was panicking. 

That happened, that happened for the first six months. And it was nobody. I mean it was everybody's fault and it was nobody's fault. It was just the way the shows seemed to go. But, that also created you know weird, like, I had my schedule of the show printed out for every show, but I would get so flustered by something not working and then I'd forget something else that was actually key to something that happened later in the show because they did have within a two hour window they would have some things would happen early on that needed to be fulfilled later. And I would just forget about one part or the other. So, it was in some ways a total disaster that I learned a lot from.

You know, we're doing these things in one month. And it would take me three or four days to recover from the last one. And then I'd find myself, like, all right. I didn't have any kind of pre-scheduled I want to do this or that. I had, I had a few notes on one page here; building office stuff and it was kind of little what do you want to do next every month. But I didn't really have a... I didn't have any kind of timeline for what I wanted to do for the year.

I made a theme's page and that was based off of either a theme, a story for my life, or a trick that I wanted to do. 

Probably something I was reading at the time.

Well, the first one was hidden in plain sight and that was, the theme came about after I went out to Scull Shoals, John and I went out there, which is an abandoned town outside of Athens. It was abandoned at the turn of the 19th century. It was a town on a little river and it was flooded twice. And eventually the residents just gave the place up. So there's still some of the, there was a cotton mill there, there was a hospital there, there was like 3000 people lived in the town that eventually was abandoned. So, we went there to film that cause it's right outside Athens, not a lot of people know about it, and made a short, little film about it and that was the impetus for the first one, which was hidden. 

Don Chambers (from show recording): Well, we've been doing this for ten months now. This is our tenth and final month of the Last Thursday.  I think we're gonna need some duct tape. John can you grab some duct tape in the back, I think I left it on the shelf there. Always good to have duct tape for these shows. 

I want to thank you for coming out. So these last ten months, among other things, we've had poetry, films, painting, and scripts; readings, body doubles, Shakespeare, and a little bit of murder.  And finally tonight, with your help, we're going to try and recreate an early twentieth century, good ol' fashioned seance. We're going to try and conjure the dead. Anybody who is not comfortable with that, well you should have read the flyer.

Last Thursday (in Fragments) - "It started with a drawing"

The curtain rises on "[a] late evening in the future." Lit by the white light above a desk. Black-and-white imagery continues throughout. On the desk are a tape-recorder and a number of tins containing reels of recorded tape. A man consults a ledger. The tape he is looking to review is the fifth tape in Box 3. He reads aloud from the ledger but it is obvious that words alone are not jogging his memory.

Tape Exctracts:

Heather McIntosh: Kind of moved to Athens because of the music there. I love R.E.M. and Pylon and the B-52s. Playing in bands I was really fortunate to come into a crew of people that were like minded and making interesting things. You know, sort of experimenting in their own ways. Sort of, generation after,  the generation after those R.E.M., Pylon sort of bands. 

Don Chambers: It started with a drawing. Yeah, it started with A drawing. I really love the Beckett play Krapp's Last Tape. 

I had always wanted to do this soloish show, built around that play idea.

I just had, I have a drawing of a table, sitting on an empty stage, with one bare light bulb above it and a chair and some recording equipment on the table. And then maybe, you know, you bring in a guitar or something, but that was kind of how I imagined. 

I want to be free to go in a lot of different spaces artistically and emotionally - you know, from a ballad to a dirge to a rocker within one space. That was the impetus of vaudeville, but THIS was kind of taking the vaudeville idea of doing something, a variety show, minus the slapstick humor. I kind of thought it is somewhere between vaudeville theater and Dada theater of the absurd, you know. And also a little bit of just like a living room show that's really intimate like the Victorian parlor shows where so-and-so would read a poem and then so-and-so would play us a song and then here's my flower arrangement that I did last week and now we're gonna eat some food. I like that eclecticism and that's more of what it turned into. I think. Bringing in other people and bringing in other friends to play and do...I mean, there was all kinds of different things that went on over the course of the year. There was some comedy. There was, you know, a murder mystery theme night. It kind of bounced all over, all over the place.

Garrett Tiedemann: So each month, I mean I know like one of the things you and John shared with me you were the posters, so was each month sort of driven narratively by an idea like the idea that within this performance and within this telling is a narrative to break out if you want it to?

Don: Not a straight, it's very thematic, but not a narrative. But I was, it would be... 

Garrett: You are presenting something or presenting a series of ideas that are cohesive within the moment. 

Don: Yes. Yeah. 

Everything, the magic the...I did some films as well and all of that for each month had to be. It all had. The ship had to be pointing in the same direction narratively.

It definitely shifted around and I don't know that I can step away, step back from it far enough to see if there was an overall tone to the thing that it created itself. There was also a hell of a lot of crazy mistakes that became...First, liked the first three months were just hell of everything that could go wrong did go wrong. 

Last Thursday (in Fragments) - Series Preview - Quote Me

In 2015 Don Chambers hosted "a music and other things entertainment" each month called The Last Thursday. Each month had its own theme and governed not only the types of content, but way of presentation for the evening. These evenings lived and died in the moment with very little social media promotion or archiving. 

In the second series of The White Whale we offer snippets of these evenings; providing first glimpses beyond the nights of what went down and why their existence foregoing online permanence is important.

Visit Don Chambers for music and more.

Tape Extracts:

I had a dream last night, I had a dream last night that I was talking with Tom Waits. And we were talking about something and I was referencing a book. And. He got out. He got out this really fucked up like brush, artist's brush. And he had some paint with him and he was looking at the book and in order to make his points he was just painting on to the book that we were talking about. So I've been doing watercolors while we've been talking in my notebook. 

I think I started off reading Simulacra.

Disregard it.

If you want, the other thing I'd throw out as a ridiculous idea is if you wanted to do some e-mail exchanges, if you felt like you needed more language, we could do e-mail exchanges and then you or friend could just quote me. Like, maybe a girl, but I don't know, if you feel like it. I don't know, it's morning and I'm not sure what we talked about. 

It's your burden now. You can have it. 

Go far. Go weird.

Offbeat: Life (2016 KCRW RadioRace)

This piece was produced by The White Whale as part of The 24-Hour Radio Race from KCRW's Independent Producer Project. Features the voice of Don Chambers, a musician from Athens, GA. For more information on his work visit http://www.donchambersmusic.com/

Tape Extracts:

Everybody was trying to imitate everybody else because there was a set rule of this is how we're going to do this.

(narration from performance film) I went to the office that day only to see a sign tacked to the door. I was disappointed. I was confused, bewildered. So turned to the only man in town who I thought could help.

If you can get your ego out of the way and let it take on its own life then I think copy and imitation, I'm not afraid of those. You're looking for the ghost in the machine.

It started off with a film of Disneyworld. Like these were my personal films of my childhood in Disneyworld. At some point I had a friend of mine get up and give a lecture on why the Beatles ruined Rock and Roll. And then Pete sits back down and I was like "now ladies and gentlemen, Pete" and another guy came up dressed exactly like him, who does a good imitation of him, did the speech in an exaggerated form of what they'd just seen. This guy's good though, this guy, Curtis, my friend Curtis. 

The one year I was working at the bar and I stepped outside the bar and looked up the street and there was Vic Chesnutt on Halloween night, rolling down the street in his wheelchair with this acoustic guitar in his lap.

(narration from performance film) I was recently hired to copy the Encyclopedia Britannica. 

And it was Curtis doing Vic who he could do, he could do Vic Chesnutt better than Vic Chesnutt. Later that week they played a show. Curtis came out, introduced as Vic, Curtis came out and did a Vic song and then like halfway through the song Vic comes back with ropes on him as if he'd been tied up in the back. And Vic comes out and they end up doing the song together, but I swear Curtis' version of Vic was, what I remember was Curtis' version. 

(narration from performance film) Everyday was the same, and it suited me well.

I definitely am a strong believer in stealing. I'm a strong believer in trying to copy something as exactly as you can and when you go back and compare it to the original thing, and the part that didn't quite get that original thing, that part of it is you. I think borrowing and stealing, pull from wherever you can pull from. I think copying and imitation is a little tricky because copying is more of what I am talking about. 

I don't know if you've listened to the book on tape of Keith Richards' story, 'Life'. That's a really interesting book on tape. It starts off with a professional actor, British guy, reading Keith Richards' story. Then, about eight chapters in, Keith Richards reads a chapter of his own story. And Keith Richards doesn't sound nearly as Keith Richards-ish as the guy who was just doing it. I kinda wanna know who that is.

 Everybody is borrowing from somebody else constantly. You can't help it. It's part of being alive. 

Offbeat: Bellhop (#ShortDocs 2016 Submission)

"We were lied to." This short audio work was produced for the 2016 #ShortDocs competition held by the Third Coast International Audio Festival. This piece was inspired by the "film noir" mini-movie produced by Manual Cinema. In addition to original music by Garrett D. Tiedemann there are music tracks by Manual Cinema within the mix as required by the competition for this year. To learn more about this year's competition and view the film inspirations from Manual Cinema visit Third Coast: http://thirdcoastfestival.org/competitions/shortdocs/2016

Tape Extracts:

I awoke from a dream. Trees lined the city. Night turned on. And we were still.

Kids playing.

(whisper) Why are they so loud?

There is no anxiety. No trace of despair. No pain. No regret. Or any sadness as one falls from great mountain heights. 

Instead the person who is falling often hears beautiful music while surrounded by superbly blue heaven that is filled with rosette clouds. And then suddenly, and painlessly, sensations are extinguished immediately from the body at the exact moment that the body makes contact with the ground.

I awoke from a dream. 

On these tapes was a man. A wall of a man. Held up.

(newsreel) Clearly this is going to have psychological importance.

In the story she asked the most fundamental questions. I work myself to keep from receding into the distance. To find her, playing in the streets, oblivious to the goings on of a tired old man. 

Fingers bleeding. Looking for a burial. Sunlight long in the distance. 

(deep voice buried in newsreel and other audio) Alright, we have to take him away.

Offbeat with Heather McIntosh

Heather McIntosh talks about her upbringing and what choices brought her to work on the films Z for Zachariah and Compliance, cornerstones of her evolution and increasing prominence in the musical communities she lives. This piece was produced by Garrett D. Tiedemann. Music was by Heather McIntosh and Garrett D. Tiedemann. To learn more about Heather's work visit: http://www.heathermcintosh.com/

Offbeat with Brian Reitzell

Brian Reitzell talks about his work on the show Hannibal and what went into the 3rd and (as of now) final season. Find his music for seasons 1-3 wherever you buy and listen to music. This piece was produced by Garrett D. Tiedemann. Music was by Garrett D. Tiedemann and This Line. To hear more from This Line visit American Residue Records.

Offbeat with Paul Fonfara

Paul Fonfara is a local legend of the Minneapolis music scene, having developed the band Painted Saints and playing with bands like Dreamland Faces and Brass Messengers. This after long travels with Devotchka and Jim White on his way to the current musical travelogue. Shifting more to a film composer role he received a grant to develop a record and make the leap. The record became its own thing that speaks further to his composer sensibilities and why this is in many ways where he belongs. 

Offbeat: What is Alpha 1?

What is Alpha-1? was originally produced in the Spring of 2015 for the Third Coast International Audio Festival ShortDocs Challenge. The story was trying to provide a small glimpse at the personal experience of the disease, which is still widely unknown to the masses. It is being released via The White Whale in prep for a collaborative episode with the podcast ARRVLS that will go further in depth with the experience of living with the genetics. Look for the ARRVLS episode next week.

Find the original post in the Third Coast library: http://www.thirdcoastfestival.org/library/1711-what-is-alpha-1

Aplha-1 is a genetic condition passed from parents to their children that may result in serious lung disease in adults and/or liver disease at any age.

For more information visit: http://www.alpha1.org/

Offbeat: Waiting for Charon

"Waiting for Charon" was produced by Garrett D. Tiedemann for The Sarahs' Very Very Short, Short Stories Contest. The challenge was to create a 2-3 minute audio fiction piece inspired by one of 3 sentences. This piece was inspired by Mary Morris' sentence: “The Gem sisters slept in the order in which they were born.” It was mixed, edited, and scored by Garrett D. Tiedemann.

Tape Extracts:

On this as we pass.

On this as we pass.

On this as we pass.

As we say goodbye.

We bury them in the mud.

(child singing) In the mud, in the mud, in the mud, in the mud. (Indiscernible) scoop some mud in the mud.

A wise old owl lived in an oak.

The more he saw the less he spoke.

The less he spoke the more he heard.

Why can't we all be like that wise old bird.

(unknown woman) Hello? Yes. Hi, can you hear me ok.

(indiscernible voices and sound)

(unknown woman 2) I didn't say that right. Or did I?

Bury them in the mud.

(indiscernible voices and sound)

(unknown woman 2) Ok, ok, I'm gonna stop because I don't know what else to say right now.

(unknown woman) Hello?

(unknown man) Yes, this is John.

(unknown woman) Yes. Hi, can you hear me ok?

(unknown man) I know why you're calling.

(unknown woman) I can totally hear you.

(unknown man) You did? Oh, you did?

(unknown woman) I think I'm doing everything right. Got a good signal.

(unknown man) I guess that's it then. Thanks anyway.

(unknown woman 2) So, I would just sit and stare out at the trees.

The Yokai Trilogy - Goodbye Yokai

This episode is the end of season 1. We say goodbye to Yōkai and go brave into the future. Covering the final films - Funayūrei 4 and 5 we see a full circle narrative arise from the combination of fifteen films. 

The Yokai Trilogy - Let's Talk About Bees

This episode is Funayūrei 3. Longest of the series at almost ten minutes. The film had a few stages of completion as it worked to become an extensive excavation of the life of bees and coordinates the narrative carried from the second through the third.

The Yokai Trilogy - Last Nine Seconds/In America

This episode covers Funayūrei 2. Continuing the painterly approaches to image combination, this film also devolves into some of the most abstraction of the entire series with an ending that reframes the whole. 

The Yokai Trilogy - Riot Gear

This episode is Funayūrei 1. A new series with more painterly techniques. This video also happens upon current events and attempts to present a certain consideration of the moment. 

The Yokai Trilogy - Rearranged Experiences

This episode finishes Hikikomori with conversation of rearranging how one experiences material as a byproduct of work being achieved successfully after stepping away when there was nothing to be done. 

The Yokai Trilogy - Baseball

This episode shifts from the frame breakage of Hikikomori 5 to the exterior envisaged by Hikikomori 1. A larger idea embodied by numerous in this trilogy - close proximity of personal interior with moments that push away.

The Yokai Trilogy - Build Up Break Down

This episode of The White Whale tackles the fifth film of Hikikomori extensively before getting off track for the slightest of moments.