In March 2015 British Film Institute in collaboration with Electra and Mutek presented Digital Quèbec: a couple of nights with province’s most innovative and experimental A/V creators(line-up)
I got myself in for the last performance that comprised two artists.
Myriam Bleau presented her Soft Revolvers: 4 spinning tops built with clear acrylic, each associated with an ‘instrument’ of some sorts. The tops were equipped with gyroscopes and accelerometers that communicated wirelessly with a computer where the motion data collected (speed, unsteadiness at the end of a spin, acceleration spikes in case of collisions) informed musical algorithms designed in Pure Data. LEDs placed inside the tops illuminate the body of the objects in a precise counterpoint to the music.The positioning of the lights created visually stunning halos around the tops, enhanced by POV effects (persistence of vision). A camera placed above the performance table provided video feed that was subtly manipulated and projected back on the screen behind the artist, making the projections an integral part of the performance.
Le Révélateur (visual artist Sabrina Ratté and electronic music producer Roger Tellier Craig) merged visuals together with a multitude of hybrid sonic textures , the effect being tracks that buzz and hum in glitched-out cacophony, while others incorporate warped sonic bodies through use of Analogue Solutions’ Telemark synth.
RTC:”I was completely obsessed with the development of early computer music and electronic music in the 70s and 80s and, coincidentally Sabrina was also immersed in the history of electronically generated images from that era [..] We were both very interested in the combination of electronic sound and imagery [..] I feel like we finally managed to zero in on this kind of impossible/virtual reality aesthetic we were going for over the past couple of years, and the artwork for Extreme Events, as well as the video for Aftermath Selves really depicts this.
SR: “We’ve been exploring different techniques as well, and one of them was to connect both our modulars together in order to achieve sirect synchronisation between the music and the image. But this is only one aspect of the performance, and it gets mixed with many other images that are not sync by wires or anything. It;s important for me to keep a certain amount of spontaneity in a persotmance, because that’s when interesting accidents have a change to happen”
Not many people attended so I was among lucky few really to see the films on a big screen, as I don’t think there is many events like this. In fact I have been always on a look out for video art festivals in London but everything seems to have gone digital nowadays (with LUX being an exception on occassions). At Videovada I also attended the Analogue Video Workshop (have been looking for something like it for 7 years!!) and the demonstration of Praxis Live, which was aimed at people who had already experimented with the interactive audio-visual software before.
Max Richter 1921
Bruce Neuman – Clown Torture
Tony Hill – A short history of the Wheel
Ai WeiWei- Dumbass (the music video)
Karen Cytter, Video Art Manual
John Wood and Paul Harrison – The Only Other Point
Dryden Goodwin – Linear
George Barber – Waiting for Dave
Hito Steyerl – How not to be seen
Jeremy Deller in collaboration with Jens Petersen (sound designer, Sigur Ross) – English Magic
This was my favourite video, shown on Venice Biennale in 2013
Archive recreation for The Great Martian War documentary by ‘impossible factual’ for History Canada.
Directed by Christian Johnson, (Plazma). and Steve Maher (impossible factual).
Music: “88” by Working for a Nuclear Free City.
Aphex Twin AV Show at Bloc 5th Birthday – 11-13 March 2011, Minehead, UK. blocweekend.com
Music: Vase by dgoHn. Video: Weirdcore.
Scorched by you
Swallowed by fumes
Feel the love of the dark side
I am the blood you will sacrifice
Burnt by you
Nothing is true
Lost again to the far side
Are we alone when we fantasize? Read More
by Patrick O’Neil
Unofficial Music Video:
Listening to the King of Limbs remix album and I started running an old security camera out of the tv and back into it to create video feedback.
Animation and Edit: Sally Sibbet
Design: Dominic Flannigan & Lionel Skerratt
nice camera work and sleek special effects
Directed by Nick Roney and Owen Schwartzbard
Producers: Owen Schwartzbard and Jenny Leaf
Cinematography: Greg Cotten
Assistant Director / Editor: Alan Michnoff
VFX / Color Correction: Nick Roney
Costumes: Spencer Reed
1st AC / Grip: Doug Frerichs
Featuring Kimberle Rose
Videos by designer / directors Clayton Welham and Sam Williams
Function: processed digital and analogue visuals, sent through a chain of devices including a UHF transmitter, a 1960’s black and white TV and a DV camcorder.
The project created around the Woodchester Mansion in Gloucestershire. The Gothic Mansion was abandoned by its builders in the middle of construction, leaving behind a building that appears complete from the outside, but with floors, plaster and whole rooms missing inside. It has remained in this state since the mid-1870s. There were recordings with vintage mics and other analog machines then transformed into the powerful sounds you hear. All footage was filmed on site and broadcast, processed and captured before editing, mirroring Emptyset’s ‘chain of sound’ processes.