| Stan Vanderbeek-Symmetrics (1972) - 382 sec
"A computer-created animation of high speed stroboscope mandalas with molecular-like energy. The surprise of this film is the color produced from the strobing black and white symmetrical images. Done with an electronic stylus on a special computer at MIT. This film demonstrates the possible use of the computer interacting with the graphic artist"-Stan Vanderbeek
Auteur : crystalsculpture3
Tags: Stan Vanderbeek Symmetricks 1972 computer animation mandala black white strobe
 | | Stan Vanderbeek and Kenneth Knowlton-Poemfield no.2 - 348 sec
text based computer animation by Stan Vanderbeek with Kenneth Knowlton made at Bell Labs 1966
Auteur : crystalsculpture
Tags: Stan Vanderbeek Kenneth Knowlton Poemfield 1966 computer animation text Bell Labs
| | Science Friction : By Stan Vanderbeek - 594 sec
As was typical with a great number of experimental filmmakers, Stan Vanderbeek studied painting before actually beginning his film production. Indeed, his earliest films are animated collage pieces which embody his background in graphics (e.g., Breathdeath).
Vanderbeek's career spanned about a third of a century, a period of almost constant creativity with extraordinary amalgamations of media. As such, it is a difficult career to summarize, especially in light of the fact that no definitive list of his truly countless productions seems to exist. Vanderbeek appeared to exude creations at a rate that escaped even his own cataloguing.
Soon after Vanderbeek's early animation work, he focused upon a unique multi-projection apparatus of his own design. This "Movie-Drome" (at Stony Point, New York) provided the presentation of a number of "Vortex-Concerts," prototypes for a satellite-interconnected "Culture Intercom" that might allow better (and quicker) international communication. At the same time, he continued experiments with dance films, paintings, Polaroid photography, architecture, 195-degree cinematography, and intermedia events.
Vanderbeek's more recent explorations of computer-generated images and video graphics provide a clear contemporary perspective for his career. In addition, they signalled a technostructural metamorphosis which marks the ongoing evolution of that major genre generally known as the "experimental film." Experimental filmmakers of Vanderbeek's prestige and prominence have, at times, found the fortune of industry support. In the late 1960s, Vanderbeek came to collaborate with such computer specialists as Ken Knowlton of New Jersey's Bell Telephone Laboratories. The result was a number of cathode-ray-tube mosaics called Poem Fields. Today these early exercises with computer graphic possibilities still retain aesthetic power as transparent tapestries in electronic metamorphosis. Typically brief, non-narrative and abstract, the various Poem Fields often reveal subtle, stunning mandala patterns, strikingly similar to classic Asian meditative devices with their symmetrical concentricity.
Vanderbeek's final projects also address electronically constructed imagery. Some of his work (such as Color Fields) employs the same interest in abstraction which characterized Poem Fields. Others (Mirrored Reason, made in video and released in film) are more representational and narrative. Still others (After Laughter) recall the rapidly paced irony that marked Breathdeath and other examples of Vanderbeek's earliest animation.
This noteworthy quantity, quality, and extraordinary technological diversity of output resulted in exceptional institutional support for Vanderbeek throughout the years. He was artist-in-residence at USC, Colgate, WGBH-TV, and NASA. His work was presented on CBS, ABC, and such CATV showcases as Night Flight. His performances outside the United States took him to such cities as Berlin, Vienna, Tokyo, Paris, and Toronto; he has been a U.S.I.A. speaker in nations like Israel, Iran, Turkey, Greece, and England. His grants and awards are equally numerous and prestigious, and his academic recognition provided Vanderbeek not only with guest lectures and screenings throughout the United States, but faculty appointments at such schools as Columbia, Washington, and M.I.T.
—Edward S. Small
Auteur : TheMotionBrigades
Tags: jan lenica cioni carpi patrick bokanowski french animation trnka Walerian Borowczyk jiri rauol servais stan vanderbeek
| | Stan Vanderbeek-science friction (1959) - 590 sec
wonderful cut and paste animation from the master of collage. The real poisoner of 16mm.: STAN VANDERBEEK
Auteur : sbkkrs
Tags: Stan Vanderbeek science friction collage animation
| | James VanDerBeek interview Part 1 of 2 - 343 sec
The Beek on a talk show! Part one of two. The interviewer, JLeno is being totally homophobic. Charming!
Auteur : creekwiki
Tags:james van der beek
| | James Van Der Beek At Villa. - 41 sec
James Van Der Beek At Villa in west Hollywood.03-01-08.
Auteur : hollywoodtv
Tags: James Van Der Beek At Villa in west Hollywoodtv
| | Deathbreath : By Stan Vanderbeek : Part 1 - 459 sec
As was typical with a great number of experimental filmmakers, Stan Vanderbeek studied painting before actually beginning his film production. Indeed, his earliest films are animated collage pieces which embody his background in graphics (e.g., Breathdeath).
Vanderbeek's career spanned about a third of a century, a period of almost constant creativity with extraordinary amalgamations of media. As such, it is a difficult career to summarize, especially in light of the fact that no definitive list of his truly countless productions seems to exist. Vanderbeek appeared to exude creations at a rate that escaped even his own cataloguing.
Soon after Vanderbeek's early animation work, he focused upon a unique multi-projection apparatus of his own design. This "Movie-Drome" (at Stony Point, New York) provided the presentation of a number of "Vortex-Concerts," prototypes for a satellite-interconnected "Culture Intercom" that might allow better (and quicker) international communication. At the same time, he continued experiments with dance films, paintings, Polaroid photography, architecture, 195-degree cinematography, and intermedia events.
Vanderbeek's more recent explorations of computer-generated images and video graphics provide a clear contemporary perspective for his career. In addition, they signalled a technostructural metamorphosis which marks the ongoing evolution of that major genre generally known as the "experimental film." Experimental filmmakers of Vanderbeek's prestige and prominence have, at times, found the fortune of industry support. In the late 1960s, Vanderbeek came to collaborate with such computer specialists as Ken Knowlton of New Jersey's Bell Telephone Laboratories. The result was a number of cathode-ray-tube mosaics called Poem Fields. Today these early exercises with computer graphic possibilities still retain aesthetic power as transparent tapestries in electronic metamorphosis. Typically brief, non-narrative and abstract, the various Poem Fields often reveal subtle, stunning mandala patterns, strikingly similar to classic Asian meditative devices with their symmetrical concentricity.
Vanderbeek's final projects also address electronically constructed imagery. Some of his work (such as Color Fields) employs the same interest in abstraction which characterized Poem Fields. Others (Mirrored Reason, made in video and released in film) are more representational and narrative. Still others (After Laughter) recall the rapidly paced irony that marked Breathdeath and other examples of Vanderbeek's earliest animation.
This noteworthy quantity, quality, and extraordinary technological diversity of output resulted in exceptional institutional support for Vanderbeek throughout the years. He was artist-in-residence at USC, Colgate, WGBH-TV, and NASA. His work was presented on CBS, ABC, and such CATV showcases as Night Flight. His performances outside the United States took him to such cities as Berlin, Vienna, Tokyo, Paris, and Toronto; he has been a U.S.I.A. speaker in nations like Israel, Iran, Turkey, Greece, and England. His grants and awards are equally numerous and prestigious, and his academic recognition provided Vanderbeek not only with guest lectures and screenings throughout the United States, but faculty appointments at such schools as Columbia, Washington, and M.I.T.
Auteur : TheMotionBrigades
Tags: jan lenica cioni carpi patrick bokanowski french animation trnka Walerian Borowczyk jiri rauol servais stan vanderbeek
| | Deathbreath : By Stan Vanderbeek : Part 2 - 420 sec
As was typical with a great number of experimental filmmakers, Stan Vanderbeek studied painting before actually beginning his film production. Indeed, his earliest films are animated collage pieces which embody his background in graphics (e.g., Breathdeath).
Vanderbeek's career spanned about a third of a century, a period of almost constant creativity with extraordinary amalgamations of media. As such, it is a difficult career to summarize, especially in light of the fact that no definitive list of his truly countless productions seems to exist. Vanderbeek appeared to exude creations at a rate that escaped even his own cataloguing.
Soon after Vanderbeek's early animation work, he focused upon a unique multi-projection apparatus of his own design. This "Movie-Drome" (at Stony Point, New York) provided the presentation of a number of "Vortex-Concerts," prototypes for a satellite-interconnected "Culture Intercom" that might allow better (and quicker) international communication. At the same time, he continued experiments with dance films, paintings, Polaroid photography, architecture, 195-degree cinematography, and intermedia events.
Vanderbeek's more recent explorations of computer-generated images and video graphics provide a clear contemporary perspective for his career. In addition, they signalled a technostructural metamorphosis which marks the ongoing evolution of that major genre generally known as the "experimental film." Experimental filmmakers of Vanderbeek's prestige and prominence have, at times, found the fortune of industry support. In the late 1960s, Vanderbeek came to collaborate with such computer specialists as Ken Knowlton of New Jersey's Bell Telephone Laboratories. The result was a number of cathode-ray-tube mosaics called Poem Fields. Today these early exercises with computer graphic possibilities still retain aesthetic power as transparent tapestries in electronic metamorphosis. Typically brief, non-narrative and abstract, the various Poem Fields often reveal subtle, stunning mandala patterns, strikingly similar to classic Asian meditative devices with their symmetrical concentricity.
Vanderbeek's final projects also address electronically constructed imagery. Some of his work (such as Color Fields) employs the same interest in abstraction which characterized Poem Fields. Others (Mirrored Reason, made in video and released in film) are more representational and narrative. Still others (After Laughter) recall the rapidly paced irony that marked Breathdeath and other examples of Vanderbeek's earliest animation.
This noteworthy quantity, quality, and extraordinary technological diversity of output resulted in exceptional institutional support for Vanderbeek throughout the years. He was artist-in-residence at USC, Colgate, WGBH-TV, and NASA. His work was presented on CBS, ABC, and such CATV showcases as Night Flight. His performances outside the United States took him to such cities as Berlin, Vienna, Tokyo, Paris, and Toronto; he has been a U.S.I.A. speaker in nations like Israel, Iran, Turkey, Greece, and England. His grants and awards are equally numerous and prestigious, and his academic recognition provided Vanderbeek not only with guest lectures and screenings throughout the United States, but faculty appointments at such schools as Columbia, Washington, and M.I.T.
Auteur : TheMotionBrigades
Tags: jan lenica cioni carpi patrick bokanowski french animation trnka Walerian Borowczyk jiri rauol servais stan vanderbeek
| | Let Me Speak Van Der Beek - 147 sec
Jonathan Schusters film clip for his song about actor james Van Der Beek(Very Funny)
Auteur : sfidadas
Tags:jonathan schuster james van der beek funny raw comedy
| | A la mode : By Stan Vanderbeek - 591 sec
As was typical with a great number of experimental filmmakers, Stan Vanderbeek studied painting before actually beginning his film production. Indeed, his earliest films are animated collage pieces which embody his background in graphics (e.g., Breathdeath).
Vanderbeek's career spanned about a third of a century, a period of almost constant creativity with extraordinary amalgamations of media. As such, it is a difficult career to summarize, especially in light of the fact that no definitive list of his truly countless productions seems to exist. Vanderbeek appeared to exude creations at a rate that escaped even his own cataloguing.
Soon after Vanderbeek's early animation work, he focused upon a unique multi-projection apparatus of his own design. This "Movie-Drome" (at Stony Point, New York) provided the presentation of a number of "Vortex-Concerts," prototypes for a satellite-interconnected "Culture Intercom" that might allow better (and quicker) international communication. At the same time, he continued experiments with dance films, paintings, Polaroid photography, architecture, 195-degree cinematography, and intermedia events.
Vanderbeek's more recent explorations of computer-generated images and video graphics provide a clear contemporary perspective for his career. In addition, they signalled a technostructural metamorphosis which marks the ongoing evolution of that major genre generally known as the "experimental film." Experimental filmmakers of Vanderbeek's prestige and prominence have, at times, found the fortune of industry support. In the late 1960s, Vanderbeek came to collaborate with such computer specialists as Ken Knowlton of New Jersey's Bell Telephone Laboratories. The result was a number of cathode-ray-tube mosaics called Poem Fields. Today these early exercises with computer graphic possibilities still retain aesthetic power as transparent tapestries in electronic metamorphosis. Typically brief, non-narrative and abstract, the various Poem Fields often reveal subtle, stunning mandala patterns, strikingly similar to classic Asian meditative devices with their symmetrical concentricity.
Vanderbeek's final projects also address electronically constructed imagery. Some of his work (such as Color Fields) employs the same interest in abstraction which characterized Poem Fields. Others (Mirrored Reason, made in video and released in film) are more representational and narrative. Still others (After Laughter) recall the rapidly paced irony that marked Breathdeath and other examples of Vanderbeek's earliest animation.
This noteworthy quantity, quality, and extraordinary technological diversity of output resulted in exceptional institutional support for Vanderbeek throughout the years. He was artist-in-residence at USC, Colgate, WGBH-TV, and NASA. His work was presented on CBS, ABC, and such CATV showcases as Night Flight. His performances outside the United States took him to such cities as Berlin, Vienna, Tokyo, Paris, and Toronto; he has been a U.S.I.A. speaker in nations like Israel, Iran, Turkey, Greece, and England. His grants and awards are equally numerous and prestigious, and his academic recognition provided Vanderbeek not only with guest lectures and screenings throughout the United States, but faculty appointments at such schools as Columbia, Washington, and M.I.T.
Auteur : TheMotionBrigades
Tags: jan lenica cioni carpi patrick bokanowski french animation trnka Walerian Borowczyk jiri rauol servais stan vanderbeek
| | Salami with Heather McCombs and James Van Der Beek - 345 sec
Johnny Salami talks finds out who Heather McCombs would like to play strip poker with and then with her husband James Van Der Beek from Dawson's Creek fame
Auteur : Dugless57
Tags:KOMP 92.3 Salami James Van Der Beek Dawson's Creek Strip Poker
| | Achooo Mr. Kerrooschev : By Stan Vanderbeek - 111 sec
As was typical with a great number of experimental filmmakers, Stan Vanderbeek studied painting before actually beginning his film production. Indeed, his earliest films are animated collage pieces which embody his background in graphics (e.g., Breathdeath).
Vanderbeek's career spanned about a third of a century, a period of almost constant creativity with extraordinary amalgamations of media. As such, it is a difficult career to summarize, especially in light of the fact that no definitive list of his truly countless productions seems to exist. Vanderbeek appeared to exude creations at a rate that escaped even his own cataloguing.
Soon after Vanderbeek's early animation work, he focused upon a unique multi-projection apparatus of his own design. This "Movie-Drome" (at Stony Point, New York) provided the presentation of a number of "Vortex-Concerts," prototypes for a satellite-interconnected "Culture Intercom" that might allow better (and quicker) international communication. At the same time, he continued experiments with dance films, paintings, Polaroid photography, architecture, 195-degree cinematography, and intermedia events.
Vanderbeek's more recent explorations of computer-generated images and video graphics provide a clear contemporary perspective for his career. In addition, they signalled a technostructural metamorphosis which marks the ongoing evolution of that major genre generally known as the "experimental film." Experimental filmmakers of Vanderbeek's prestige and prominence have, at times, found the fortune of industry support. In the late 1960s, Vanderbeek came to collaborate with such computer specialists as Ken Knowlton of New Jersey's Bell Telephone Laboratories. The result was a number of cathode-ray-tube mosaics called Poem Fields. Today these early exercises with computer graphic possibilities still retain aesthetic power as transparent tapestries in electronic metamorphosis. Typically brief, non-narrative and abstract, the various Poem Fields often reveal subtle, stunning mandala patterns, strikingly similar to classic Asian meditative devices with their symmetrical concentricity.
Vanderbeek's final projects also address electronically constructed imagery. Some of his work (such as Color Fields) employs the same interest in abstraction which characterized Poem Fields. Others (Mirrored Reason, made in video and released in film) are more representational and narrative. Still others (After Laughter) recall the rapidly paced irony that marked Breathdeath and other examples of Vanderbeek's earliest animation.
This noteworthy quantity, quality, and extraordinary technological diversity of output resulted in exceptional institutional support for Vanderbeek throughout the years. He was artist-in-residence at USC, Colgate, WGBH-TV, and NASA. His work was presented on CBS, ABC, and such CATV showcases as Night Flight. His performances outside the United States took him to such cities as Berlin, Vienna, Tokyo, Paris, and Toronto; he has been a U.S.I.A. speaker in nations like Israel, Iran, Turkey, Greece, and England. His grants and awards are equally numerous and prestigious, and his academic recognition provided Vanderbeek not only with guest lectures and screenings throughout the United States, but faculty appointments at such schools as Columbia, Washington, and M.I.T.
Auteur : TheMotionBrigades
Tags: jan lenica cioni carpi patrick bokanowski french animation trnka Walerian Borowczyk jiri rauol servais stan vanderbeek
| | James Van Der Beek is coming to Grand Rapids! Yippee. - 166 sec
I can't believe James Van Der Beek and Eric Balfour (Milo from the Jack Bauer power hour) are actually going to shoot a movie in Grand Rapids. "The Fifth Mafia." Sounds exciting. Errr...
Auteur : JuliontheWeb
Tags: James Van Der Beek Eric Balfour Milo 24 Dawson's Creek juli on the web www.RightMichigan.com Katie Holmes Tom Cruise
| | James VanDerBeek interview Part 2 of 2 - 131 sec
The Beek on a talk show! Part one of two.
Auteur : creekwiki
Tags:james van der beek
| | Standing Still - Amy Adams, James Van Der Beek, Mena Suvari - 150 sec
Trailer for the film "Standing Still", starring Amy Adams, James Van Der Beek, and Mena Suvari.
Auteur : jdb2414
Tags: Standing Still Amy Adams James Van Der Beek Mena Suvari Insomnia Bachelor Party Vegas Film Movie
| | stan vanderbeek a la mode - 379 sec
stan vanderbeek
Auteur : acerodan
Tags: stan vanderbeek la mode animation collage
| | Soundmachine (van der Beek, The Netherlands) - 126 sec
This is a videoclip of the Soundmachine (J. van der Beek, The Netherlands) on the fair in Tilburg 2006. The Soundmachine is a selfmade version of the Top Scan type of rides by Mondial.
More information on the Soundmachine on www.soundmachine.nl (also available in English)
Auteur : recon047
Tags:Soundmachine van der Beek Kermis Kirmes Funfair Fun Fair Tilburg 2006
| | James Van Der Beek JO - 14 sec
Jerk Off Scene of James Van Der Beek From The Rules Of Attraction
Auteur : man91433
Tags:JO Gay James Van Der Beek Hot
| | Stan Vanderbeek: The Computer Generation part 1 - 575 sec
documentary from 1972 by John Musilli. this an incomplete version from the vhs tape Visibles available from the Center for Visual Music.
Auteur : crystalsculpture2
Tags: Stan Vanderbeek Computer 1972 Wade Shaw art MIT
| | Mirjam van der Beek singing Feint (acoustic) - De Doelen - 272 sec
Mirjam van der Beek singing Feint (acoustic) - Epica (De Doelen, Rotterdam - Ronald Nels on the piano) Supervoices 2007
Auteur : gosixtiesgirl
Tags: Mirjam van der Beek Feint Epica De Doelen Supervoices 2007 Ronald Nels
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