I find television very educating. Every time somebody turns on the set, I go into the other room and read a book. - Groucho Marx


by Kathryn Fischer
May 21, 2018

Remember that outrageously large Buffalo Gal Hat Lady Gaga manages to squeeze into the pussy wagon in her "Telephone" video with Beyoncé? Or the enormous curlers made of coke cans? These indelible images are clear rumblings that the great artistry of the late Leigh Bowery (1961 – 1994) has pressed itself—through nineties New York Club Kids, to underground contemporary artists—right into popular culture and onto MTV today. 


Kathryn Fischer (aka Mad Kate) is a writer and performance artist living in Berlin, Germany with her partner and performance accomplice Juan Chamié. Combining elements of dance theatre, spoken word, vocals and fashion, she has performed her queer-alien-burlesque-theatre extensively around Europe since moving to Berlin seven years ago. As a contemporary improvisational dancer Mad Kate integrates techniques from Ballet to Afro-Cuban to Butoh, pioneering a style uniquely her own. She is front woman for the punk-rock-cabaret band Kamikaze Queens and a proud member of the Bonaparte circus. Mad Kate's performance work has been featured in several documentaries and films, including Emilie Jouvet's Too Much Pussy: Feminist Sluts in the Queer X Show, Cheryl Dunye's Mommy is Coming, Ivan Arrenega's Berlin Manners: Burlesque in Berlin, and Jess Feast's documentary Cowboys and Communists. She also plays the lead role in Julia Ostertag's film, Saila. Mad Kate can often be found inside the caverns of Carni Closet, located in the back of the Berlin boutique, EXIT.

Kathryn holds an MFA in Writing and Consciousness from the New College of California and a BA in Peace and Conflict Studies with an emphasis in Gender and Sustainable Development from the University of California, Berkeley. Her writing has appeared in Z Magazine, Bitch, Other , Off Our Backs, Art XX, ExBerliner, SexHerald, Exodus, Sojourn, Sexflies: R rated stories 4 the uncanny, Tea Party Magazine, Brew City Magazine and Controlled Burn, an anthology of short fiction by New College Press. Her work is currently being featured in the online exhibit, Imagining Ourselves: A Global Generation of Women, a project by the International Museum of Women. She self-publishes The Fabricated Love Affair Art Project, a feminist, mixed media 'zine.

by Kristen Bialik
May 19, 2018
Without knowing you at all, I can say that Fehérlófia is unlike any other movie you’ve seen. Sure, it’s animated. That’s familiar. And sure, there are some recognizable images. Like, in that the English title is “Son of the White Mare,” and there are both sons and white mares. In fact, the storyline itself is incredibly familiar, and in a way, almost universal. Based in ancient folklore, the story is culled from ancient tales of the Scythans, Huns, and Avars but it taps into a shared collection of stories around the world. Ones with kings, princesses, and dragons, epic challenges, numerical symbolism, and a hero’s journey. But like I said, it’s nothing like you’ve ever seen. In part because it’s in Hungarian and there are no subtitles. But mostly because of the colors (the glorious colors!). But more on that later...

Kristen Bialik is a writer, teacher and graduate student of Journalism and Mass Communication. In her spare time, she's a baker of pies and maker of stories.

by Jake Goldman
May 15, 2018

I am someone who often shoos away technology. When I break my cell phones (which is frequently) I always ask for the cheapest available phone as a replacement. It has little to do with frugality, though. I have a bit of a fear that should I get one of those wunderphones with the screen you put your filthy fingers all over like a greasy, miniature figure skater and their geo-location recipe apps ("Someone is baking a cake RIGHT NEXT TO YOU!"), that I'll get sucked in too deeply, letting the machine win, letting the internet devour me whole and whisper sweet-nothings laced with videos of cats falling asleep into my ear.

When I think about it, though, a big part of my fear is derived from the sheer power of technology. Technology is a fast-moving creature; a ceaseless beast with no discernible bounds. There are robots that sniff out bombs. You can put a computer chip INSIDE your dog. There is a car that parks itself (stupid) and there are lights you can turn on by slapping your hands together. (not new. still tremendously entertaining, though). It conjures up a couple things: first, sure, there's the big brother element: Google knows where you are at all times, Facebook knows what you like. But, what it really stirs up in me is a fear of becoming complacent...

Jake Goldman is a writer and a teacher. He lives in New Haven, Connecticut.  Occasionally he writes songs.  If you are so inclined, check out Internetdogfist.com for words and Otsego.Bandcamp.com for music.

by Jeff LaPrade
May 13, 2018
Peter Greenaway has been making films since the mid 1960’s, is known for his subversive use of the image, and finds the boundaries of film through fifty years experience and experimentation. Network Awesome has two Greenaway shorts for us, “Intervals” and “Water Wrackets”. Both a few decades old, they give us a tiny glimpse into the creative mind. If we take a look at the average hollywood narrative, Greenaway goes for a production that is everything orthodox modern film is not. Formally trained as a painter ,“I was much more influenced by the aesthetics of painting than by direct associations with filmmaking products.”** The fundamentals of his original art medium, painting, shine through in his film making. This fact has not stopped him from embracing technology as a medium for art as he continues incorporate new layered multimedia formats...
Jeff LaPrade was born in Dirty Jersey but spent most of childhood in a suburb of Oakland.  Sticking to the skate parks, he developed a love for the underground and DIY culture.  Diversely motivated, he spends his focus designing cloths, producing photo shoots and writing about whatever comes to mind.  Despite his love for writing, Jeff earned his B/S in Physics from San Francisco State University in 2011.  Since then he has worked as a Solar Engineer,  Nuclear Weapons Detector Engineer, a vegetarian cook, has self published a book, and is a regular contributor to realizeculture.com and Swoop Magazine.  Now he resides in Venice Beach, soaking in the rays, writing until his fingers bleed and tutoring local children in the off time.

by Thomas Michalski
May 13, 2018
While it’s not as ubiquitous as its cousin slow motion, we’ve all seen time-lapse footage before. Whether it’s a sun and moon racing across the sky, usually signifying the passage of time/tripping one’s balls off, or endless traffic rushing through a busy intersection, often used to convey the bustling activity of an urban environment, the technique pops up frequently in everything from feature films to music videos and TV commercials. It’s usually only a few fleeting moments, an easily forgotten stylistic flourish, and there’s a reason for that, namely that producing time-lapse footage is an expensive, time consuming pain in the ass, and as such it’s not something people give much thought to. But it’s worth taking a moment to break it down, since the principles that make this cinematic effect possible illuminate the technical and physiological underpinnings of the entire medium. And besides, it looks really cool...
Thomas Michalski is a writer and radio host from Milwaukee, Wisconsin. You can keep up with his comings and goings over at http://www.voodooinspector.com/