Can they be thaaaaat fast? Did they prepare two versions? They can't fuck this one up.

videos over here!

While the country celebrates, the President-elect catches everyone off guard when he arrives at the White House prematurely. From the Oval Office, the new Commander-In-Chief assembles his team and prepares for the job ahead.

Darius James is thinking "Polling stations is like a nigga dick out there. Its long and BLACK!"

In case you're bored before the first results come in: Barack Obama: Our Moment Is Now, full speech, December 27, 2007, Des Moines, Iowa.

Here it is again! For those who still deny that the first man on the moon was a black man! Louie was a blaxtronaut!

I must have seen this at least 20 times, but this remains to be the funniest video on the internet ever.

Meet Olivier Otten! The coolest interactive videos I've seen in a long time. I mean, wow, this guy is good!

This man is dressed as Gotham City. No, really. You should see him as "Battle of Endor" or "The Solar System". Great interview and more at WFMU

Pixar wants to be taken serious now, ha, ha.

Well, Bela Lugosis's dead!

Prima Interview: Nick Cave Proclaims He Measures Up to Rock's Greats -- Especially Physically

Quote: You're playing to people drinking and eating cheese and biscuits and all that sort of s---.

Boingboing: Interview with Roy Lichtenstein, Andy Warhol

Obama's grandmother died just in time....! "Human Interest" for the last day....

Eleven Writers Imagine What Happens After Election Day: "Will an Obama administration have the funds to bring about his promised changes? Will President McCain survive a full four-year term? Could some dark horse emerge at the last second to stage an election upset? Five Dials magazine asked eleven writers to speculate on who will win the presidency, and what the post-election future holds.Hamish Hamilton

British magazine Five Dials asked eleven writers to “remember” their experiences on November 5, 2008, the day after Election Day. "

I can't help it, this is one fascinating story!

Watch the video: Ernsting has surprised both Democrats and Republicans with a grass roots effort. This candidate has made many wonder: Who is Stefan Ernsting?

Another one from Passivitate Imunitass

Maria Callas in Concert - Hamburg 1962

Phantastic opening. Play it really loud!

Huffingtonpost: Wave Of McCain Robocalls Reported, Some May Violate State Law

Nerdcore über Obamas Robot-Halloween-Spot: John McCain lässt durch eine PR-Firma (die übrigens im Jahr 2000 eine Kampagne gegen McCain fuhr) automatisierte Anrufe durchführen, während derer eine Roboterstimme Obamas angebliche „Nähe zu Terroristen“ erläutert. Und dessen Antwort darauf ist nun ein Video mit Gort, dem Roboter aus „Der Tag an dem die Erde stillstand“.

Video bei YouTube oder rechts in der Leiste.

Da hat man die Nerds tatsächlich mal gezielt bedient!

Och, Bushido, eigentlich wolltest Du ja nur zum Friseur gehen und dann macht Sido so'n doofes Interview und dann macht Bushido so'n langes Videoselbstgespräch für YouTube, was es bei Spreeblick zu sehen gibt und dann redet sich Bushido um Kopf und Kragen. Deutsche, Ausländer, Schwule, Juden usw.

Spreeblick kümmert sich da mal sehr mutig um den aktuellen Stand von Disserei, Sido, Schnido, Kasimir und allem was an unschönen Sachen so dazugehört:

"Für die Käufer der Bushido-Biographie noch ein Wort: Lest lieber „Mein Kampf“. Das hat der Autor wenigstens selber geschrieben und man kann sehen, wie weit ihn und unsere Großeltern seine Sicht der Dinge gebracht hat.

Für uns, die wir mit den Bestseller-Autoren unser Zeit leben müssen, steht diese Erfahrung noch an. Das wird noch ganz toll."

The boss has a special video and a free song for you on his website. Great song! Read all about the Jersey Devil over here. You can also watch it on YouTube or in the player on the right.

Salon: "Somehow, in Sarah Palin's brain, it's a threat to the First Amendment when newspapers criticize her negative attacks on Barack Obama. This is actually so dumb that it hurts:

Palin told WMAL-AM that her criticism of Obama's associations, like those with 1960s radical Bill Ayers and the Rev. Jeremiah Wright, should not be considered negative attacks. Rather, for reporters or columnists to suggest that it is going negative may constitute an attack that threatens a candidate's free speech rights under the Constitution, Palin said."

Metafilter: Sarah Palin's Church: Prayer Warriors, Spirit Mapping & FEMA - "Thomas Muthee, the witch-hunting prayer warrior who anointed Sarah Palin, is part of a much larger movement called the New Apostolic Reformation. Researchers at religious watchdog site Talk2Action have released a 36 page report on the NAR"

FUN: Create your own Attack Ad!

drcm1973 who has lots of great clips: The Muppet Show, Season Three, Episode 61 (with Helen Reddy). Opening number: Miss Piggy, dressed as Marie Antoinette, sings Saturday Night Fever's hit "Stayin' Alive" with a group of French Revolution-era pigs.

And then there is this one too: Miss Piggy - I WILL SURVIVE (1982)

What's wrong with this cover?

Rirkrit Tiravanija, Chew the Fat, 2008, 120 minutes. Still from a color film in digital video. From left: Carsten Höller, Rirkrit Tiravanija.

I worked on this film as a consultant/editor.

artforum.com / film thinks we did a good job, Kollegas!

"MYSTERY, OF COURSE, is in the not-seen, in the unquantifiable. This not-visible suffuses the archaeology of knowledge, bolstering it like a flange supporting the weight of the seen. Evidence of the ineffable in the particular form of fellow feeling is everywhere present in the curiosity and affection that Rirkrit Tiravanija displays in Chew the Fat (2008), his loosely constructed film memoir of the working lives of his close circle of friends—a group of artists who rose to critical attention in the 1990s: Angela Bulloch, Liam Gillick, Dominique Gonzalez-Foerster, Douglas Gordon, Carsten Höller, Pierre Huyghe, Jorge Pardo, Philippe Parreno, Elizabeth Peyton, and Andrea Zittel. (In homage to Maurizio Cattelan’s signature tricksterism, he’s discussed by numerous others but never appears on-screen.) But memoir is likely too specific a genre to speak of in this instance. Part road trip, part diary of the pieces of their days, the film is improvisational and handheld, both in the camerawork and in the sense of an almost trembling tenderness on view as Tiravanija makes his rounds of their studios, kitchens, backyards, and habitual cafés.

Tiravanija’s docu-diary is much in keeping with his aesthetic, which seeks chance and dynamism in the milieu and invests in the frame rather than in the control of the active core of his projects. Here he is the interviewer and interlocutor, seen barely but heard as an amiable and not terribly pressing questioner, asking his friends where they went to school and why they became artists, and reminiscing. He is generally content with the minimal resources of cinema verité; what we learn about his friends we learn through the Flaubertian tendencies of his lens, with its slow capture of drifting minutiae that pool to form an image of time, place, and personality. The oddness of Höller’s fascination with birds and their food, the mixture of levity and gravity in Huyghe’s sense of himself and his practice, the characteristic incisiveness of Gillick’s intelligence caught in playful sentences, and Gonzalez-Foerster’s outsiderish will toward philosophical isolation give us small glimmers of their lives and personhoods, of their assumption by now of success and material ease, though not a great deal is gathered in any rigorous way about the intellectual foundations or feeling obsessions that have compelled them to make the work they do or to form the congress of filiations they have.

That, I suppose, is still left in part to Nicolas Bourriaud’s Relational Aesthetics, which first rounded them up as sharing elective affinities in their cultural production. And though Gillick has argued vociferously in print against this theorized ghetto, there is nothing said in Chew the Fat’s two-hour running time to countermand or render problematic that discussion. Perhaps Nancy Spector’s exhibition catalogue for “theanyspacewhatever” will offer the retrospective gaze and analytic discipline required to balance Bourriaud’s pioneering claims. And while the desire to learn more about their net of commonalities and differences is piqued by the film, Tiravanija is still in the midst of finishing full-length films on each of the artists, produced over three years of shooting, which presumably will have the depth impossible to attain here. In any case, polemics and discursive argument have rarely been Tiravanija’s method. He often prefers, in a John Cage–like way, to be a knowing innocent. In fact, in this record of unrehearsed moments, what he is after is the luminous harvest of mystery, with its aperçus shuffling softly into view and disappearing. But to slightly rephrase Adorno, innocence and sophistication are concepts so endlessly intertwined that no good can come of playing one off against the other. That could be said of all of Tiravanija’s work, and it is surely the case here. Bring popcorn, and a joint.

— Steven Henry Madoff

Rirkrit Tiravanija's Chew the Fat screens on Sundays at 1 and 3 PM and on Mondays at 2 and 3:30 PM as part of the exhibition "theanyspacewhatever," on view through January 7 at the Solomon R. Guggenheim Museum in New York. "

Vote McGovern by Andy Warhol, 1972 Licensed by ARS & VISCOPY, Australia

The American Master Printer, Kenneth Tyler was keen to invite Andy Warhol to make prints at his Gemini GEL workshop in Los Angeles in the late 1960s and early 1970s. Unfortunately no long-lasting collaboration with Warhol was possible, but the artist did produce one print work at the workshop in support of the Democratic party’s presidential candidate George McGovern."

More at artsearch.nga.gov.au

Check out this very amusing song from 1975 (MP3) to get an idea what Karl Marx was all about.

Art Forum: German filmmaker Alexander Kluge has been at work filming Marx’s magnum opus Das Kapital (1867). The Frankfurter Allgemeine Zeitung’s Stefan Grissemann spoke with Kluge about his massive project—Nachrichten aus der ideologischen Antike (News from the Ideological Antiquity)—which will appear mid-November with the publishing house Suhrkamp as a DVD box with ten hours of viewing. Inspired by Sergei Eisenstein’s own unrealized plans to transform Marx’s main work into film, Kluge referenced Eisenstein’s voluminous notes and sketches to realize his own project, which also derives from notes, clippings, and interviews with writers Hans Magnus Enzensberger and Dietmar Dath, actress Sophie Rois, and philosopher Peter Sloterdijk, among others. “The revolution may be dead,” writes Grissemann. “As a film idea, it remains alluring. In Marx, we have a scout who can lead us through a highly complex world and back into antiquity,” said Kluge. To capture the destructive power of money, the filmmaker focuses on the Wall Street crash of 1929. “It’s not just about providing an artistic answer to this crisis but also a literary one,” Kluge told the FAZ.