"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."
Certain that she had made a good painting at last, she pedaled home from the studio in the moonlight, fervent and giddy with glee.
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.
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 per...
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/
"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://...
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/
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: https://americanresiduerecords.bandcamp.com/
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. Album...
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 ori...
"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.
This episode of The White Whale 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.
This episode of The White Whale 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.
This episode of The White Whale 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.
This episode of The White Whale 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.
This episode of The White Whale 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.
This episode of The White Whale 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.
This episode of The White Whale tackles the fifth film of Hikikomori extensively before getting off track for the slightest of moments.
This episode of The White Whale dives into the films of Hikikomori and doesn't get past the third video, which is actually the first video. Confused? We explain. Just listen to the podcast.
Sounds of Harlem in 1968. The story of one woman's experience during a time of great musical evolution. This piece was produced by Garrett Tiedemann and The White Whale as part of The 24-Hour Radio Race from KCRW's Independent Producer Project.
This episode of The White Whale looks exclusively at the last film for Aokigahara and how it took making the feature film KliKt to excavate buried ideas feeding an understanding that informed the development of The Yōkai Trilogy's films.
This episode of The White Whale presents a break down of Nirvana's 'Smells Like Teen Spirit' music video and launches into how to not make a film, yet derive a way of making from it. Professionalism be damned. It also ends with the last track of Aokigahara and bends closer to talking about the second record's films.
This episode of The White Whale continues interrogating the films and dives into Garrett's history to learn more about what shapes the current work. Shifting from Jurassic Park to Fellini to the music video for Nirvana's 'Smells Like Teen Spirit', this episodes shapes context and provides valuable considerations for The Yōkai Trilogy's visual layout possible.
This episode of The White Whale turns the tables as John interviews Garrett about making the films. Discussion shifts from the films to previous work such as Trickery Mimicry and Public as a turn back tot he topic at hand.
This episode of The White Whale winds things down. Concluding Funayūrei's making, John brings us to the guest in his room uninvited and the curious happenings around the finality of the trilogy. It's an ending in a beginning.
This episode of The White Whale goes deeper into the dreams and strange happenings of Funayūrei's making. John starts having vivid dreams that lead him down a rabbit hole to Christopher Hitchens and eventually playing material for a girl who throws up in his guest room.
This episode of The White Whale takes an interesting turn to the Titanic as we set up the weird arrivals of Funayūrei's ghosts.
This episode of The White Whale returns looks at how one develops an openness with creativity and thinking outside the box of art. Where do we get our ideas? How do we accept our voice and interpretation if the surrounding thoughts counter it as correct? Why does it matter that you find your own road?
This episode of The White Whale returns to ELpH through John Cage and preparing pianos. Most of all the records, Funayūrei is built on reconfiguring by machines.
This episode of The White Whale dives into the "choose your own adventure" element to The Yōkai Trilogy's production as we move closer to Funayūrei and an eventual descent into the videos that came about as a result of this music.
