Black Holes Edit 1 of 7: “Shape Of Content” by Corey Smith and Liz Davis

Black Holes and Invisible Forces Bending Time Through Particle Deformations Creating Infinite Freedom in the Garden on The Moon. Um … what? I think my brain started to hurt by the time I got to “Particle Deformations” …

Black Holes (or, BLKHLZINVZFS—which, for the record, is only marginally harder to pronounce than “Iouri Podladtchikov”) is the new team video from the collective known as COMUNE. Corey Smith and associates set out to present their own artistic interpretation of snowboard filmmaking, enlisting eight different editors to cut their own mixes of the footage compiled by the snow team over the last year.

For some, it might bend your sanity a bit over the line. For others, this may just be the modern product your sick and twisted mind so desires. Regardless of your attraction to losing touch with reality, the Black Holes outcome is refreshing and ambitious—not to mention, cunningly subversive to the current media stream of snow porn. And the best part (besides making fun of the dude who apparently still thinks it’s rad to dress like Jack Sparrow while frontboarding a kinked c-rail)? The edits are all free to watch at theCOMUNE.com/blackholes. Check out the four full parts leaked here in this article, and read on below for a quick Q&A with COMUNE’s own, Corey Smith.—A.H.


“Menthol Beach” by Ryan Scardigli

AH: So, Corey … BLKHLZINVZFS? We gotta hear the name explanation.
CS: We’re all 99% empty atoms, vibrating at different frequencies while searching for infinite freedom. People find infinite freedom through various channels, like art, music, religion, or even something as simple as snowboarding.

The whole project is pretty spontaneous and tongue in cheek. I just wanted a name that wasn’t like a normal snowboard movie name. So I thought, Why not annoy the shit out of people? Next year, we’ll have a more traditional snowboard movie name like “Frostbite Bro” or “Delicate Seasons” [laughs].

How Does COMUИE approach filmmaking differently than the other snow films currently out there?
It’s a team video, so it’s not made by a snowboard production company with a million sponsors. So while it is a smaller project, it also gives us the creative freedom to do whatever we want. Instead of the traditional formula of “intro,” “parts,” and “ender,” we just tried to mix it up, by allowing seven different editors, filmers, and video artists to have a go at it. Some of them made traditional edits while some made some pretty different abstractions. At the premiere, we had seven different viewing stations (one for each edit) so people could watch each version at their leisure. Also, we decided to release all of the content online for free. That way, more people can have access to it.


“Sam” by Mark Wiitanen

Releasing the video for free, do you see DVDs and iTunes sales as the direction, or free media the future for snow?
I think it just depends on the production level. I mean, I wouldn’t pay for most snowboard movies. I love to watch them, but it’s like paying to be advertised to. I think everything in snowboarding should be free. Like … [laughs] when you’re born, you’d just be issued a snowboard and an unlimited world season pass!

The idea behind the film was to focus on showcasing snowboarding and snowboard filmmaking as a raw, creative art form, giving all involved the creative freedom to translate a collection of footage through their own interpretation.


“Gun Shot” by Matt Porter

Contributing artists towards the project included: Corey Smith, Liz Davis, Ryan Scardigli, Hunter Longe, Matt Porter, Kevin Castanheria, Mark Wiitanen and Shelby Menzel.

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All edits of the film, as well as shorts and trailers ranging in style from traditional snowboarding to abstract obscurity, can be viewed in full at:

theCOMUNE.com/blackholes