FEATURED WORK
BUZZ BOX (REMIX) 2006

The OG Buzz Box from 1985 was a complete re-imagination of clay animation using STRATA CUTS: Programmable distortion layers of geometry and shape that remain hidden and passive inside each block (or loaf) until the sculpt is knifed away, 3 or 4 millimeters at a time. 

The potential energy locked within, explodes with kinetic energy on playback. This yields a seductive morph-hypnosis or lucid ‘plasma field’ effect – where ALL pixels move across every animation frame. 

Six minutes have been cut from the original 15 in this High Definition re-transfer from the original film master running at 36 fps (not 24.) Timely micro-edits were added like GW Bush lying about WMD’s, and a sideways cameo by Osama Bin Laden

The Re-Mix is one third less of an audience endurance challenge than the original, which throws a full throttle psycho-morphic assault of consumer trivialities and sensationalist horror into the eyeballs of the viewer. 

The Box delivers junk food thinking into the passive mouth, eyes and brain of every-man consumers who shape-shift throughout. These characters appear as a series of changing stupor like faces that sit passive before the Buzz: A chaos tsunami that spews out clutter and density that ends in a shattering attack on its clay animated victim with real forks and knives.

Using Strata Cuts, Daniels delivers a fresh fun house mirror reflection on the choppy and incoherent nature of real world media overload. His images beguile, assault and massage before attacking and overwhelming us with a firehose of relentlessly useless information: This accelerates into a real time brain wash of ‘rinse and repeat’ – of ‘seduction and abuse’ – which builds to a ‘War Gazzmic’ ending climax. 

Buzz Box’s dialectic themes are attraction vs. repulsion – innocence vs. corruption – sex vs. death – giddiness vs. horror – hypnosis vs. epilepsy – content vs. overload. These contrasting ideas resonate, loop, bounce around and accelerate. It’s a visceral attempt to force audience reflection on the corrupt power of information age society designed to make us all remain passive about the banality of evil, due the full weaponization of modern dis-info-tain-ment.

The ‘days of the week’ narrative asks you to absorb both linear acceleration and cyclical repetition. The climax short-circuits into a sparking emotional flameout that never really ends as we relive hyper cuts of that weeks daily trash:  A beautiful week of Strata Cut that get’s condensed and recycled each weekend.