姚莉 – 春天不見了 (c. 1940)

Yao Lee – Spring is Gone… The deterioration of the film stock here is poetry.

From Wikipedia:

Born Yáo Xiùyún (姚秀雲) and raised in Shanghai, Yao began performing on the radio in 1935 at the age of 13. When she was 14, she recorded her first single with Yan Hua (嚴華) called “New Little Cowherd” (新小放牛, Xin xiao fang niu). After being introduced by singers Zhou Xuan and Yan Hua, she was signed to Pathé Records when she was 16 in 1937, and the first record she released with the label was “Yearning for Sale” (賣相思, Mai Xiang Si).[1]

She married Huang Baoluo (黃保羅) in 1947 and ceased performing on stage to devote time to her family. Following the Communist seizure of power in China in 1949, popular music was considered ideologically suspect and Yao fled to Hong Kong in 1950 to continue her singing career there. In addition to releasing hit records, beginning in 1955 with the film 桃花江 (Peach Blossom River), she often acted as a playback singer for movie superstars. Many of the featured songs would also become popular. She stopped singing in 1967 upon the death of her brother but took an executive position with EMI Music Hong Kong in 1969. In 1970, she returned to performing and travelled to Taiwan to perform there for the first time and sought unsuccessfully to sign Teresa Teng to EMI for the Hong Kong market. She retired officially in 1975 but remained supportive of singers such as Wakin Chau.

holly herndon – chorus (2014)

Holly Herndon / Akihiko Taniguchi – Artist / Video Director Statements

Holly Herndon: “So much of Chorus was constructed by spying on my own online habits. It felt fitting to invite Akihiko, who I had been spying on online for a long time before my approach, to contribute the visual treatment of the piece.”

Akihiko Taniguchi: “I was interested in exploring the textures of daily necessities and the embodiment / physicality of the computer and Internet. One of the most striking contemporary images is that of the desktop capture, which is seen commonly on YouTube as part of software tutorials. I like the shots of desktops that are poorly organized and ‘lived-in’.

Referencing one of my earlier pieces “study of real-time 3D Internet”, I considered how it corresponds to the personal environment outside of the screen and how particular it is to my identity and my friend’s identities. I asked several friends to photograph their desktop environments and then rendered these images with custom 3D software, shooting video by moving throughout this virtual space. This video is a collection of records of life of friends and their Internet environments.”

Herndon: “I love the idea of depicting the mundane and quotidian in high definition, and how evocative and individual each of these spaces are. Thinking about intimacy and the laptop is familiar territory for me. I’ve also been thinking a lot about privacy, particularly in light of the ongoing revelations regarding the NSA, which add a more sinister sub-narrative to Akihiko’s piece.

The most crucial conversations happening in technology at the moment focus squarely on our work space, our email, our iSight and our smart phone, and how much we can honestly claim those spaces to be ours at all in an era of indiscriminate and imperceptible surveillance.”

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In this audio-visual talk recorded at Ableton’s Loop summit for music makers in 2016, Holly Herndon describes the role process plays in her creative vision. Drawing on her experience as a recording artist, her studies at Mills College and Stanford University’s Center for Computer Research in Music and Acoustics, Holly discusses the conceptual frameworks surrounding her process-based composition methods. Using audio and video examples from her recent work she reflects on how government surveillance, internet age aesthetics and collaborations with Mat Dryhurst, Metahaven and others inform her mission to capture the ‘sound of now’.

And here’s an interesting interview from 2015.

rebekah del rio – llorando (2001) 

Scene from David Lynch’s Mullholland Drive. ‘“Crying” in Mulholland Drive transcends barriers that would normally alienate an audience: language and aesthetic approach. It exists purely as naked, enthralling performance, demonstrating the entrancing power of emotion in film.’ Read more here.