A flash artifact project in critical remediation by Danny Snelson
Situating the criminal mastermind of Fritz Lang's Dr. Mabuse, der Spieler
within the webs of digital culture spun by contemporary technologies

1) MABUSE FOR NAZIMOVA — July 2, 2010

Solo performance by Danny Snelson at the 14 Karat Cabaret in Baltimore. Hosted by Ric Royer with further performances by Dan Deacon and Lauren Bender.

[See script at page bottom.]

Snelson Mabuse Baltimore Carabet by dss-edit

2) GERTRUDE V. MABUSE — July 22, 2010

AMJ Crawford and Danny Snelson
(ex libris)

playing in

A Film Series Presented by
Hiding Place and Marginal Utility
July, 22 2010

: :

A call-and-response performance fresh out of the boxed-in world of yr average poetry reading or video projection, AMJC &Danny Snelson re-stage a historical spectacle frm within the gaming networks of contemporary culture.Tender Buttons meets German Expressionist cinema with more than a dash of Super Smash Bros Melee.

See Crawford's MILK, a midi video organ (AMJ's signature vonome) rocking a database of selected YouTube clips derived from Stein's 1914 Tender Buttons face off against Snelson's THE DARK CLOUD OF DR. MABUSE, an investigation into the nefarious webs of contemporary criminal activity embedded in Fritz Lang's 1922 film, Dr. Mabuse, The Gambler.

: :

Alejandro Miguel Justino Crawford is an artist, performer, and writer currently studying at NYU's Interactive Telecommunications Program (ITP). He is a former Fulbright Scholar to Portugal, the author of Morpheu (BlazeVOX 2009). He lives in Brooklyn, NY.

Danny Snelson's work as a writer, editor, and archivist can be found on UbuWeb, PennSound, Eclipse, free103point9, Aphasic Letters, Primary Information, No Input Books, and </no-body>. His new press—Edit Publications—releases a dozen books expanding Tan Lin's Seven Controlled Vocabularies at Printed Matter on July 29, 2010.

: :

Josef Horacek said... I saw AMJ Crawford perform with Danny Snelson at post_moot (Miami U, Oxford, OH) a few weeks ago and had a similar impression. There is nothing gratuitous or half-baked about the way they use technology; it was, to borrow your own words, composed, impassioned, and motivated. Their performance was almost like a punk concert: loud, fast, with a lot of political force. It seemed to elicit a different kind of response from the audience, too: a sort of spontaneous immersion rather than willed concentration, if that makes any sense. Some of it has to do with the nature of their writing - lists, catalogs, language lifted from popular culture - but the manner of presentation played a big role as well. A poetry reading can be many things and liked that one a lot. 7:28 PM [Comment appended to Nada Gordon's ~~ululations~~ blog]

: :

: :

AMJ Crawford & Danny Snelson
(ex libris)

Part 1

Part 2

Part 3

Part 4

Part 5

Script (7.2.10 Version)

[ Slide - Opening titles ]

Thank you Bucky, thank you all for coming. I'm so pleased to be here in this exciting new projections series to share some ongoing research into the dark webs of cinematic history, haunted technology, network dispersion, and digital remediation. A research that has recently centered on an exploration of the Mabuse system initiated in the 1922 film "Dr Mabuse: Der Spieler."

I'd like to present the figure of Mabuse as a envelope or container (another kind of toy) for a reading, where the reading is nested within presentation formats including projection, quotation, poetry, lecture, and storytelling.

This performance is for Nazimova.

[ Slide - 1,000 Eyes: Mabuse ]

Perhaps Sir Arthur Conan Doyle inscribed the figure of Mabuse most accurately with his description of notorious Fu Manchu:

[ Slide - Marketplace ]

He is the napoleon of crime, Watson. He is the organiser of half that is evil and nearly all that is undetected in this great city. He is a genius, a philosopher, an abstract thinker. He has a brain of the first order. He sits motionless, like a spider in the centre of its web, but that web a thousand radiations, and he well knows well every quiver of them. He does little himself. He only plans. But his agents are numerous and splendidly organised.

[ Blank Slide - Crunchy Sound ]

Mabuse stands as the archetypal master enunciator of networked technology, a parasitical master criminal whose counter-protocological exploits rival those of the cinema (the network) itself. Manifest already in the Mabuse of 1922, and extended over thirteen direct spin-offs and innumerable rip-offs, the Mabuse figure consistently plays a metonym for the shadow side of new media and modern technology. Like a zombie bot-net or sleeping virus, Mabuse continues to play through the Internet.

[ Black Slide, Noise, Brute Force List ]

"Brute Force List"--a tool used to break into someone's password-protected material via an immense list of possible passwords. While these are mostly boring alphabetic lists, many hackers include some "educated guesses" at the opening of the list, a utilitarian type of "creative writing" that I find very compelling. Here I'm collaborating with E LIT 3 Man, or in leetspeak: eliteman, reediting the opening to his "pass-listy.txt" file.

Brute Force List

iloveu iloveyou


yahoosux yahoosucks



fuckyou fucku

hateme hateyou


ihacku imahacker imacracker

visualbasics visualbasic

vb php http qwerty


iluvsatan ilovesatan

sixsixsix 666

lonleyheart lovablegirl

coolguy badguy







bushrocks irock yourock

sherocks herocks



peachesandcreme imfine



ilovepussy ilovedick

imapimp imawhore imalesbian

420pimp 420smoker

buzzed24/7 buzzed247





creatorofevil creatorofgood


systemacess systemacces

systemfuck fucksystem

accesssystem hacksessystem

icantspell icanspell

hacktelnet telnethack



idontcare whocares



cracksearch crackthis

fuckme hackthis

















how clever are you

how clever am i

how clever are we

how clever should we

how clever could we

how clever could be

how clever should be














wish i could crack




























localdiskdrive shitonme








come inside

exclamation at numeral dollar percentage shift









plus underscore left parenthesis right parenthesis asterisk ampersand shift percentage dollar numeral at exclamation tilda




































[ CPU Sound - Next Slide - Quelltext ]

Haunting every new technologial system as a maniac specter, the processes of modernization facilitate, rather than hinder, his anarchic ruptures and fateful gameplay. What Mabuse expresses in every new digital version or streaming format is nothing less than the authorship of networked media itself. Mabuse, seen as the "Grand Enunciator," figured as the author of all these cinematic objects, is precisely the myriad components of HTML protocol, GUI software, and networked hardware that facilitate the viewing environment. Mabuse is not a man, but a maleficent current haunting contemporary networks: it is his ghost that replaces Fritz Lang and following directors as the 'author' of the Mabuse films, which include everything from Dr. Mabuse in 1922 to Eagle Eye in 2008.

However, the history of the 1922 film alone provides a wild tale of versioning: from Fritz Lang's obsessive cut, to the variously altered international releases (including the ideological Soviet cut Gilded Putrefaction or Gold-Plated Rat edited by Esther Shub and her young apprentice Sergei Eisenstein), to massive reconstruction efforts and subsequent VHS cassettes, television broadcasts, and digital releases. How do we account for this continual remediation of film? If these are diverse veiwing environments are, in fact, "Dr. Mabuse Der Spieler," what do we make of more creative versioning activities? What do we see when experiencing historical film digitized online? It's obviously not the film! What happens if we consider the messy constellations of digitized film trafficking online within the critical narrative of the film itself?

[Oscillate Mabuse Soundtracks - Projector - Weltman ]

Issue Project Room and SAG Indie Present: Actor as Auteur

The photographer as auteur: respecting authorship

Anno as auteur: researching

Amazon.com: Federico Fellini as Auteur: Seven Aspects of

How the West Was Won: Film format as auteur

Cartoonist as auteur: Europe's visionary

Part 1 -- Cameron as Auteur

Unseen Cinema: Amateur as Auteur is

Haward Hawks as Auteur in

Cinema History: The 1960s--Rise of the Director as "Auteur"

The New York Times - Movies - Phenonemon: The Terrorist as Auteur

The Actor as Auteur in certain cases

The actor as Auteur posted by Guy Lodge

Women as Auteur-e-s: Notes from

Actor as Auteur Brunch to Benefit

Auteur Theory Wikipedia,

The Video Clerk as Auteur at God of the Machine

The triumph of the director as Auteur - Google Books result

Casablanca: The Actress as Auteur


Welcome to Tykwer-World: Tom Tykwer as Auteur

Sreenpedia Discussion: Howard Hawks as Auteur

Cached Similar

Douglas Sirk as Auteur (discussion) From

Virtual Turntable: Game Dev as Auteur

Audience as Auteur presentation for

Abramoff as Auteur: He was No

Reject the Herd: David Cronenberg as Auteur

Seven aspects of Fererico Fellini as Auteur offers

Economic Opportunities: Robert Altman as Auteur

E-Mail. Print. Reprints: The Terrorist as Auteur Just as

Film as Literature: Tim Burton as auteur

Might also save us from the Designer-as-Auteur

A listmania list by Michael B Floore (REAL NAME) Burton as Auteur

A Film and Media Studies Blog: Cinematographer as Auteur

Carl Barks as Auteur as a member of the vociferous cult of

My Name is Bruce: Campbell as auteur at SF GATE

Topic: Roland Emmerich as Auteur by Mr. Atoz in film

Hitchcock's Place in Film Theory: a significant Auteur -- Crimeculture

[ Slide - Opening 1 ]

Watching the clip "Dr. Mabuse, Ein Bild der Zeit [Part 1/13] (Fritz Lang,1922)," uploaded by a 21-year-old Romanian YouTube user operating under the alias xxPenumbraxx, I can identify with that vatic first scene: "HE and his day." (20 sec)

After the clip loads its introductory information--we can skip quickly through the slow progression of opening titles, and in general I prefer to watch the film at 150% speed--the action opens on the hurried, though exacting, ornamental arrangement of a series of avatars, cascading like playing cards or user images in a pair of hands. Whose hands? The actor Rudolf Klein-Rogge, the director Fritz Lang (who, like Hitchcock, claims to have inserted an image of himself into every film, always as a pair of hands), or an unknown professional--there is no way of knowing. After selecting eight possible identities--all that the screen can comfortably hold in its frame at one time--the image cross-fades to a blank-faced man sitting at his desk: the petit bourgeois antihero, Dr. Mabuse. The irising of the frame and the actor's peculiar gaze both remind us that he sits before an intricate technological apparatus throughout the scene; every action is staged for unlimited reproduction. (1 min)

[ Slide - xxPenumbraxx ]

Black Box

xxPenumbraxx's Channel

Edit subscription Add as Friend | Block User | Send Message


Name: Furiel

8,157 Channel Views:

328,060 Total Upload Views:

Age: 21

Last Sign In: 1 month ago

186 Subscribers:

Welcome to my Channel, a place for E.B.M. , [or industrial] and goth rock. You might also find videos about games like VTMB or Morroblivion. Thanks to those who have subscribed XD. I am officially dedicating my Channel to Forgotten Films, currently im uploading german expressionist movies[find them in my playlists], you guys can msg me for requests.

Country: Romania

Hobbies: I like everything with a dark and somber taste.. but I am also interested in Cake

This is an index of every dirty phrase form Samuel Delany's Equi Nox:

sack in her mouth with his

said stranger

Saliva made


satisfied themselves,

sausage of yours


sell them to pleasure




sex of

shaft slicked

shaft, put






she attracted

She bled.

She caressed

she fingered beneath the twice-full bag, he

She heaved at him.

she kiss

She moved

she took it,

she touched

She was


she, gasping



shining to the








silk, delved

simper and growl

sister's drooling crack

sit on it.


slapped her

slapped his back


slick it

slid under his chest

slight infatuations for


slipped and broke

slipped out

slipped to his knees

slipped two fingers

slipped under the


slipping the loose skin

slips, brassieres

slowly out

smacked his butt

small breasts with his


smothered it,

smudged knees

snarled through



some pussy in


spiced up

spill my next shot glass full

spilled black lips mottled with cerise

Spilled his palm

spread on an altar

spread on his belly

Spread the footboard



squirmed on

stealing glimpses


sticking my dick in it


stiff, the shaft

strange lady




struck Gunner's chin



Suck dick

suck it

Suck it

Suck it

Suck it

Suck it,

suck you

suck your sister's box



sucked. I

Suckin'. Fuckin'.

suckin' some


surged in him

sway of

sweaty crevice

sweet look hungry pussy




swung at his groin


[ Slide - Opening 2 ]

Casually shuffling through this set of pre-determined identity masks, we already know that each anonymizing agent will be activated by contingencies at different sites in response to various schemes and protocols. Following a cut back to the medium-shot of the desk, Mabuse randomly selects an avatar from this seemingly endless series of choices, dwelling for a moment on its image. Having made his selection, he automatically sends it off to an agent of his operating system: first betraying his composure as a neurochemical stimulant glitch slows down his social networking preparations. He is pained by any delay in transmission. He threatens and curses the application for freezing up, and irritatedly resends the identity masking information before turning his attention to a handheld time keeping device. (50 sec)


[ Slide New Moon Rising ]

Alejandro Crawford made an algorithm write the following poem, but I'm not sure whose poem it is. We published it together in a packet under the imprint "Ex Libris" for presentation at post_moot in Ohio. The input text was selected out of a series of conversations we've had about protocol and nonexistence. The python script was a modified form of another script, gathered in his institutional training. I'm reading it now with a few minor edits. Contrary to the gestures of conceptual poetry, I'm not sure I want to claim it as mine. Where and how do we locate fluid text and trafficking media? How porous are the dimensions of network authorship?


in the issue of text of powerful concerns

in the governmental layer text of anxiety may

in the discussions over text of a network

in the study of text of data packets

in the network are text of linear sequences

in the distributed form text of political opposition

in the research of text of DNA

in the idea of text of epidemic intensity

in the grammar of text of the processor

in the quantized framesper text of cinema will

in the proper functioning text of a city

in the network as text of numerous parts

in the passive edges text of heterogeneous phenomena

in the political order text of wealth

in the very conditions text of Islamic fundamentalism

in the most complex text of accidents and

in the pervasive media text of computer viruses

in the day before text of networked control

in the network is text of networks entail

in the more one text of topological organization

in the level of text of bits and

in the other hand text of computer society

in the importance of text of a type

in the Christian Identity text of traditional military

in the One is text of the coupling

in the icon of text of Deleuze and

in the undoing of text of the new

in the entire human text of the medieval

in the White House text of this power

in the broadest sense text of hackers bringing

in the eighteenth century text of the word

in the role that text of FedEx or

in the SARS virus text of the SARS

in the threat of text of medical surveillance

in the other hand text of living organisms

[ Slide Opening 3 ]

The first parallel cut is unexpected and startling: exciting enough to keep my interest. As quick as a link to another YouTube clip, the montage opens a window on a fast action sequence beginning with the progressive locomotive framing that characterizes all cinematography--long shot, medium shot, close-up--first employed by the Lumières'. Throughout the sensational sequence Mabuse's eyes remain fixed to the small mobile device ticking away, as though it's streaming the moving image right from the palm of his hand. The servers in his network follow the absolute control of an elaborate protocol worked out to the smallest detail: activating automobiles, rail systems, and telephone lines in concert with their perfectly synchronized mobile devices, each of which mirrors the streaming content of the filmic iris. (1 min)

Instantaneously, an interconnect operator transmits the encoded outcome of the criminal escapade, calling up the space-defying immediacy of modern technology through a seamless network direct to Mabuse's desk. He receives the news with the boyish anticipation of a user about to refresh his inbox. The thrill of the perfectly timed montage, the exacting speed of error-free protocol, and his flawless exploit of the system delights him so much that he shouts to himself while seated at the desk before the recording mechanism. With the exception of the high fidelity, attention grabbing musical soundtrack we've added to the film in 2001, the film is silent, so we receive a text message instead: Bravo Georg'! Satisfied with the momentary novelty of this sensational sequence, he closes the line and returns to the routine demanded of a webmaster engaged in the constant maintenance of his criminal network: preparing yet another excursion into a world of consumer technologies and casual users oblivious to their imminent exploitation. (1 min)

[ Slide - You Take ]

Dr. Mabuse, der Spieler - Ein Bild der Zeit (Fritz Lang, 1922).torrent

(or: download a .zip file of the torrent | download the torrent renamed as .txt file)

in the .torrent file has been changed and a private flag added to it. Please re-download it.

Language: Silent

included: English Intertitles

Size: 1.37GB (1,471,698,944 bytes)

Added: 2005-07-21 01:36:28


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Add a comment

by amnesiac (Administrator)


by TopJim (TopUploader)

Thanks, now my Mabuse collection is almost complete!

by TopJim (TopUploader)

I just took a quick look at it & this is a really nice rip. Thanks again!

by derbghallef (User

I can't download the torrent file I don't know why.

by Pohn (VIP)

What version is this?

by Tagave (User)

So this is the short version? That's too bad. I could provide the long version along with the extras from the new MoC DVD, in case anyone's interested.

by victorhermann (Power User)

Do it!


No it is impossible we don't have in KG full DVD with Dr Mabuse masterpiece ?

Snatched: 1 time -- 1 known user

Upped by Jurgeen

[ Bernstein, Piano]

Those days are over I'm not fighting for anyone except myself

I've heard this story a million times


I met a guy once when I was a kid,

it would always begin

Tell me

Who was it you left me for was it Lazlo

or were there others in between

or aren't you the kind to tell

/ my neck out for no one

/ so can I, play it Sam

I stick my neck out for /

can stand it so can I, play it S *

If she can stand it so can I, play it Sam.

I stick my neck out for no one

/ can I, play it Sam.

I stick my neck out for no one

Those days are of *

/ play it Sam.

I stick my neck for no one

/ am. I stick my neck out for n /

/ can stand it so can I, play it Sam.

I stick my neck out for //

so can I, play it Sam.

I stick my neck out for no one

/ can i, play it Sam.

I stick my neck out for no one

Those days are over ah *

Those days are over I'm not fighting for any *

Those days are over I'm not fighting for anyone except myself

I've heard this story a million times

Mister--I met a guy once when I was a k //

/ ister--I met a guy once when I was a ki //

/ ter--I met a guy once when I was a ki //

illion times: Mister--I met a guy once when I was a /

Mister--I met a guy once when I was a ki /

times: Mister--I met a guy once when I was a

/ time: Mister--I met a guy once when I was a ki /

ion times: Mister--I met a guy once when I was a k /

illion times: Mister--I met a guy once when I was a k /

on times: Mister--I met a guy once when I was a ki /

on times: Mister--I met a guy once when I was a ki /

illion times: Mister--I met a guy once when I was a kid //

I've heard this story a million times


I met a guy once when I was a kid

It would always begin

Tell me

Who was it you le *

Who was it you lef *

Who was it you left me for /

Who was it you left me /

Who was it you left me for //

/ was it you left me /

Who was it you left /

Who was it you left me *

Who was it you left me for wa /

Who was it you left me for was it Lazl /

Who was it you left me for was it La /

Who was it you left me /

Who was it you left me for was it La //

was it you left me for was it Lazlo // Lo / or were there other in b //

Who was it you left me for was it La /

Who was it you left me for was it Lazlo or were there others in between or aren't you /

was it you left me for was it Lazlo or were there others in between or aren't you the k /

* me for was it Lazlo or were there others in between or aren't you /

Who was it you left me for was it Lazlo or were there others in between or aren't you the kind /

left me for was it Lazlo or were there others in between or aren't you the kin /

// Lo or were there others in between or aren't *

train platform

with a comical look on his face because his insides had /

with a comical look on his face be //

standing on a train platform

with a comical look *

The wild finish, a guy standing on a tr /

The wild fini // al

The wild finish /

The wild finish *

The wild fin /

Who was it you left me for was it Lazlo or were there other //

on a train platform

with a comical look on his face, because his insides had been kicked out.

[ Final Slide -- Noise -- Money]

The film closes on Mabuse inadvertently locking himself into one of his own hiding places--a secret counterfeiting operation using blind slaves to ceaselessly count and stack Mabuse's fraudulent cash flow. Trapped, and confronted with the ghosts of the damaged souls crushed under his power, Mabuse manically scatters the now-worthless paper into the air. The counterfeiting operation was always his most incongruous and quixotic venture: the manufacture of paper money matches the unrealistic necessity of the blind ones, who perhaps stand more for print media than any narrative necessity: like humans and automobiles, the paper was nothing but another material tool used to irritate abstract systems. In the end, his own body locked in a cell of his own device, Mabuse is translated into pure abstraction: inscribed like malicious software into the system. What is this final insanity but a mirror of Neo's absorption in the final scene of The Matrix? The printing press is animated as a beast of virtual simulation. Like the ghost that surround him, the final insanity of Mabuse-the-man (Mabuse the author, the director, the film) plugs the motion picture into an ethereal realm, confused in the undying reduplication of 'Mabuse.' The document Mabuse has produced forms a self-perpetuating machine that (re)creates its author in its reader. Mabuse doubles himself, and the text that makes this duplication possible leads a life of its own; the doctor's testament acts both as a means of spreading the virus and as a way of obscuring its source.