#kinet

I finally got around to making a quick little reference sheet.

I’ve been thinking of late about how certain species in Ben 10 are seen commonly around Earth-based alien settlements, and how other species aren’t.

Like- have you ever noticed that the main sophonts we see populating the Undertown are either unrecognizable aliens or Kinecelerans? And how most of the Plumber characters happen to be species from the Omnitrix?

What species even are the Vreedle brothers??? I have questions.

What’s Canon:

Kinet is a very chaotic planet. Due to its rather fast orbit around its sun,  everything on Kinet is accelerated. Kinecelerans do things at an extremely rapid pace, condensing activities or jobs that would last days into minutes and lifetimes into weeks. 

Kinet is often prone to violent electrical storms, so Kinecelerans had to evolve their blinding speed in order to survive. 

Due to the ever-changing nature of their environment, Kinet society is forever in flux. It is said that one will never return to a place on Kinet to find it the same after a small amount of time. 

Kinecelerans live their lives in a constant rush. They are gangly and naturally awkward, often prone to acting without thinking.

Headcanons:

Alongside harnessing the plentiful electricity from storms, society on Kinet is kept running by the Kinecelerans themselves. A common job on the planet is running on devices similar to treadmills in order to produce power.

There are two subspecies of Kineceleran. The more common kind, the “Runners”, make up the majority of the population. They can be distinguished by the presence of proper hand digits and the absence of a “helmet” and “visor”. The other kind is known as the “Speeders”, who are identifiable by their claw-like digits and the presence of a “helmet” and “visor”. These are the absolute fastest members of their species, with XLR8 being one of them.

In the past, Kinecelerans were unable to spend extended periods of time off Kinet due to the slower rotations of other planets. Kinet’s rotation has since slowed down somewhat, allowing more recent generations to live on planets such as Earth.

*While some species consider the Citrakayah a lesser mockery of Kinecelerans, the Kinecelerans themselves are rather friendly to their fellow speedsters from Chalybeas. They respect the Citrakayah’s speed even if it is lesser than their own and are particularly impressed by their greater stamina.*

Every 40 Earth years, Kinet hosts an intergalactic race where species from all over the galaxy come to test their speed. The event is separated into three separate categories, each based on a different level of speed. The first category is made for somewhat slower species like Arburian Pelarota, Orthopterrans (Crashhopper), Pyronites and Insectoids (Ball Weevil). The second category is dedicated to species with medium-levels of speed such as Citrakayah, Nosedeenians, Conductoids and Pturbosaurians. The final is made for the fastest species in the galaxy, with most competitors being either Kinecelerans or Aerophibians. Despite these categories being separate, one is allowed to compete in any of them regardless of their species. Rarely, it is even possible for someone to succeed in a category higher than their species would usually be in. Such was the case of Nuisa Bollot, a Citrakayah who miraculously won a race in the highest category.

Program 10 - April ‘19

Eden is a Cave by Alexandre Galmard

Nanterre Personne by Angelina Battais

Red Shift by Isaac Goes

4z by Michelle Yoon

Go-Stop by Miguel Mantecon

I talked about Djwwww (Kenji Yamamoto) as working with the structure of walking around Don Quixote, repetition, overlap, controlled cacophony. Because of the importance of sound to the experience of public space in Japan, Djwwww is able to respond to everyday sound experience in his country more than any artist I can think of, in the whole of history. Besides masterpieces like Gargoyle and Arigato, we have his extremely underrated Ringtone Super Collection. I arrived back at this work of his after deciding that I must respond to the sound structure of Japanese adverts (and Japanese commercial experience in general).

Since watching Japanese television, I’d always found that the adverts were much more engaging and dynamic than the news/talk show/documentary hybrid that makes up most of the shows. Upon seeing 「ソース焼きロッピーの歌」and later「つるんとしあがる下地」, I realised what grandness could be arranged into 15 seconds. With complexity compacted into seconds we can achieve a kind of perfection in the sense that there could be nothing left to cut. This is great advertising, yes, but as we saw with Djwwww and as we will later see with Kelley Dong, is this not a great starting point for art?

After coming back from Okinawa, I prepared myself to edit a film using photographs taken at a protest in Henoko against the US base currently being built. Considering an idea of comparing the removal of a protestor to the extraction of a photograph, from 牛蒡抜き (idiom for removal of protesters, lit. uprooting burdock) I arrived at the title イメージ抜き (uprooting images). I made the trailer while unsure of the implications of this comparison, but find in retrospect that it encapsulates the idea anyway. And when a film begins at a simple idea or comparison like this, then using the logic of an advert to communicate this message swiftly may be optimal.

Dong, whose 4 available films range from 11 to 88 seconds has already proven themselves to be a master at swift communication. What Dong does in seconds, other artists can take minutes equivalent. In Breaking and Entering, Dong begins with an idea but builds a whole world out of it in 1 and a half minutes. Then in Late Embryo, we see their shortest work transcending idea completely.