Movies and TvShows featuring "multi-channel" theme.

GameTechChannel is a YouTube Channel for multiple games. They strive to make videos that everybody can enjoy. Every game they are interested in or play, gets uploaded.

For the three-channel video Salidas y Entradas Exits and Entrances, artists Jessica Hankey and Erin Johnson worked with applied theatre facilitator Gina Sandi Diaz to offer performance workshops at public daytime senior centers managed by the city of El Paso’s Parks and Recreation Department. With the senior center as a stage, the elders who participated in the workshops enacted social, political and geographical imaginaries for the camera. Through improvisation and performance exercises drawn from the work of Viola Spolin and Augusto Boal, themes emerge: the dynamics of the U.S.- Mexico border, the desire to be seen, the role of musical storytelling as a soundtrack to daily life, power dynamics, and gender as performance. As the boundaries between rehearsal, improvisation, and performance blur, the ways in which individual lives and sociopolitical realities merge together are foregrounded.

Across the installation's multiple channels, the camera circles a group of artists as they sit together in a field eating, licking, and squeezing ripe tomatoes. Throughout the ever-changing scene, kisses, whispers, and caresses are shared with a casual, gentle intimacy that reflects interconnectivity and abundance. These queer and desirous exchanges constitute a portrait of collectivity wherein individuals come together as distinct parts of a whole.

An episode in Soda_Jerk's multi-channel digital-video installation cycle entitled "Astro Black". Race for Space gives life to Sun Ra’s claim to have been abducted by aliens who schooled him in the radical potential of music. While working as a piano man in Chicago in 1943, Sun Ra is contacted by Morpheus who offers him a choice of two destinies. Flashing forward to the 1969 moon landing, Neil Armstrong discovers that outer space has already been colonized by Sun Ra and his intergalactic ensemble, The Arkestra. At stake in this episode is the cultural politics implicit in the territorialization of outer space, both as a geography and a virtual field of possibility.

An episode in Soda_Jerk's multi-channel digital-video installation cycle entitled "Astro Black". Destination Planet Rock maps the intergalactic legacy of Sun Ra and George Clinton in the sci-fi futurism of early hip-hop. Set in 1974 in the South Bronx, the episode be-gins in a neighborhood center where Sun Ra is explain-ing his ideas about the intersection of race, myth and outer space. The three future originators of hip-hop—DJ Kool Herc, Afrika Bambaataa, and Grandmaster Flash—are abducted and transported across the galaxy to Planet Rock, where they are schooled in the alien language of turntablism.

I Can’t Get Away is a three-channel black-and-white silent video. The video depicts 4 sequences: a figure perpetuating walking away; a figure bounded to an immobile tree; a figure running away from another figure, and vice versa. The performances of stages within the grieving process, different modes and processes to grapple with loss and the sensibilities that comes with mourning impermanence.

An episode in Soda_Jerk's multi-channel digital-video installation cycle entitled "Astro Black". We are the Robots re-imagines the iconic scene in the film Close Encounters of the Third Kind (1977), where sci-entists use a synthesizer keyboard to communicate with an alien mothership. In Soda_Jerk’s revision of these events, Kraftwerk play sequences from their own music and the mothership responds with frag-ments of tracks that have sampled Kraftwerk. This jam session– between the original and sampled ver-sions of Kraftwerk’s music–explores the impact of German electronic music on Afrofuturist sonic culture.

An episode in Soda_Jerk's multi-channel digital-video installation cycle entitled "Astro Black". This episode considers the politics implicit in Public Enemy’s claim that we’re already living [in] armaged-don. It begins with the discovery of an ancient stone crosshairs at an archeological site in Egypt. Sixty years later a giant alien mothership emerges from a mena-cing cloud over New York City, hijacking President Ron-ald Reagan’s TV statement in order to transmit a pirate broadcast from Chuck D, Flavor Flav and Sun Ra. Like Sun Ra’s mantra that ‘it’s after the end of the world’, Public Enemy invoke armageddon to insist upon the critical moment in which we already live.

The Karikpo masquerade - a traditional dance of the Ogoni tribe - is transposed onto the remnants of a faded oil industry programme in the Niger delta.

"Come In" explores how Morse history is entangled with the history of the Spiritualist church. The Spiritualist Church was founded by the Fox sisters in 1850. They claimed that they were mediums who could communicate with the dead and they justified this ability by citing the new ability, through Morse, to speak with someone far away almost instantaneously. After fifty years of practicing Spiritualism, the sisters declared the religion a hoax, and many years later Morse code officially lost its role in the commercial realm. As Spiritualists continue to send messages to the dead in spite of the sisters’ statements, and Morse operators transmit messages into the ether with hope, Johnson asks: How do communication networks and technologies affect our calls and responses and make visible our desire for reciprocity?