Joe Milutis

R, Adieu (2010)

A multimedia essay on the rolled r and the artists who love it, and why it should perhaps be left behind. Featuring the rolled rs edited out of various archival recordings of the poetry of Raoul Hausmann, F. T. Marinetti, Christian Bok, Jaap Blonk, Ezra Pound, and Charles Bernstein.


The Torrent (2009)

Based on a damaged BitTorrent file of Jean Rollin's erotic horror film The Night of the Hunted (1980), The Torrent translates cross-cultural file error into new narrative configuration. It has appeared in book, installation, internet, and performance incarnations.







New Jersey as an Impossible Object (current)

New Jersey as an Impossible Object is an on-going multimedia project, which uses William Carlos Williams' Paterson as a psychogeographical map for the city Paterson. The blog documents the resonant space between the poem and its restless referent with audio, video, photos, and commentary. The project will culminate in a large scale audio piece.






The Woonasquatucket Primitive (2007)

A "Temporary Autonomous Blog" documenting anonymous art-brut interventions on the river. A mystery and a critique.






F2F (2005)

The city's relation to the face, the major trope of which is "the faceless crowd," is productive of one of the great cliches of the movies.







Don't Drive Today with Yesterday's Maps (2005)

Currently offline. Hypertext version of the meta-sci-fi-Christmas musical. Video excerpt here.







Radiophonic Laura (2000)

Hypertext film essay on film sound, the uncanny, Vera Caspary, Otto Preminger, artificial intelligence, radio art, David Lynch, cybernetics





I like the democratic junkiness and ease of Web 2.0 and have been recently exploring the blog as an art and scholarly form in itself. I began working in hypertext in earnest when it became possible to incorporate video in compelling ways, and did an early--perhaps the first--example of a film studies essay that incorporated video as a way to expand the possibilities of film theory. I use video not as mere illustration, but as montaged counterpoint.