Tuesday, June 26, 2012

Bronson | Nicolas Winding Refn




Two scenes from Bronson. The first song is really famous ("It's a Sin" by Pet Shop Boys), the second one is "Digital Versicolor" by Glass Candy. In the film there's another scene tuned to "Digital Versicolor" that I really love, but I haven't found the video online.



The first scene is a weird party at a psychiatric hospital ('crazy' people on drugs), someone at YouTube describes it as "this is what you look like when you take ketamine at a rave." The second scene is... rage, punches synchronized with music. The third scene, the one that I haven't found, mesmerizes me, it starts with the legs of a pole dancer and ends with a static shot of Tom Hardy staring at the void while the naked girl dances in the background.

This is blue, blue, bluuuuue.

I must say that I'm not really interested in this kind of music, I've never been a fan of Pet Shop Boys and I don't like electroclash (at least not in general, I like some songs, but I can't stand most electroclash albums). Anyway, Nicolas Winding Refn's films fascinate me, and he really knows how to choose, and use, music. Besides, in Bronson Tom Hardy is absolutely glorious.

And finally, Bronson wants some music... (I love the shot with the three policemen and the speakers).

Sunday, June 24, 2012

Cracked Ray Tube Studio Recording | James Connolly & Kyle Evans

Cracked Ray Tube is a collaborative realtime project by James Connolly and Kyle Evans that breaks and disrupts the interfaces of analog televisions and computer monitors to produce flashing, screeching, wobbulating, self-generated electronic noise and video.
James Connolly and Kyle Evans

Saturday, June 23, 2012

de/Rastra - Oscillographic Synthesizer and Computer Interface - Kyle Evans (Performance Excerpts)

The de/Rastra oscillographic synthesizer is a real-time audio/video instrument and computer-interfacing device that allows a performer to generate visualizations intrinsic to cathode ray tube technology while simultaneously creating the acoustic analog of the displayed imagery. The de/Rastra oscillographic synthesizer is an open source project and will eventually be accompanied by tutorials on methods of CRT hacking. Related tutorials can be found at crackedraytube.com/textstutorials.html but specific information regarding de/Rastra are in progress.
Kyle Evans

Monday, June 18, 2012

Early abstractions (1946-57) by Harry Smith

No. 1: A Strange Dream (l946)
No. 2: Message from the Sun (1946-48)
No. 3: Interwoven (1947-49) (Part 1)


No. 3: Interwoven (1947-49) (excerpt)
No. 4: Fast Track (1947)

Harry Smith produced extravagant abstract animations. The effects were often painted or manipulated by hand directly on the celluloid. Themes of mysticism, surrealism and dada were common elements in his work.

Information especially about Smith's early films is very contradictory. This is partly due to the work-in-progress nature of experimental filmmaking. Films are often reedited (hence the different runtimes), and occasionally incorporate reassembled footage of different films sometimes to be viewed with varying music tracks. For instance, the handmade films now known as No. 1, 2, 3, and 5 were accompanied by an improvising jazz band on May 12, 1950 when they premiered as part of the Art in Cinema series curated by Smith's friend Frank Stauffacher at the San Francisco Museum of Art.

Initially Smith intended to use Dizzy Gillespie songs. Later he showed the films with random records or even the radio as accompaniment. Smith stated that his films were made for contemporary music, and he kept changing their soundtracks. Smith also re-cut Early Abstractions to sync with Meet the Beatles! picked out by his wife, Rosebud Feliu-Pettet. After Smith's death, artists such as Philip Glass or DJ Spooky provided musical backgrounds for screenings of his films: Glass at the 2004 summer benefit concert of the Film-Makers' Cooperative and DJ Spooky at several venues in 1999 for Harry Smith: A Re-creation, an embroidered compendium of Smith's films put together by his close collaborator M. Henry Jones who tries to screen the films in the manner intended by Smith - as performances - using stroboscopic effects, multiple projections, magic lanterns, and the like.
Harry Smith

Sunday, June 17, 2012

Shallow Water | Joe Stevens

Taking Paul Klee's famous statement "take a line for a walk", I utilize GPS recorded walks, to capture the landscape scientifically and then re-represent this captured data; playing the data in new exciting ways. This work is rendered as a film and a set of limited edition prints. It references the tradition of landscape painting and contemporary art.

Coding using Processing platform creates the animation. I set guidelines for the GPS data, which is read in, interpreted and processed into an animation. A field recoding of the place where the walk took place accompanies the visual. This piece shows my love of this landscape and attempts to make known something beyond the obvious. Capturing in an essential form a description of place using an abstract visual language.

The work pays homage to a number of influences such as Constructivism, and of Hepworth and Nicholson, artists who had a strong interest in seeking out and making use of geometric forms found within the lyrical landscapes. These artists also drew inspiration from the science and mathematics of their day. They used theoretical models as new visual stimuli to develop fresh ways of thinking and working. It is also informed by Malevitch and the school of Suprematism, an art movement focused on fundamental geometric forms. The Supresatists replaced identifiable brush marks with anonymous monotone surfaces, free lines with ruled lines and complexity with apparent geometric simplicity.
Joe Stevens

Found at: @MrPrudence

Saturday, June 16, 2012

Baroque.me: J.S. Bach - Cello Suite No. 1 - Prelude | Alexander Chen

Baroque.me (2011) by Alexander Chen. Video capture. baroque.me visualizes the first Prelude from Bach's Cello Suites. Using the math behind string length and pitch, it came from a simple idea: what if all the notes were drawn as strings? Instead of a stream of classical notation on a page, this interactive project highlights the music's underlying structure and subtle shifts.
Grab and interact
More details
Built in: HTML5 Canvas, Javascript, SoundManager
Made while a resident at Eyebeam

Found at: Creative Applications Network

Thursday, June 14, 2012

Sound Exploration: Text to Music | Annalisa Swank & Ji Yong (Raisa) Park

This is a sound exploration that repurposes the familiar—written text—and translates it into music. The aim was to give text a form beyond just the written and spoken language. Text was translated into Braille which functioned as a sheet music that could play music by being fed through the music box. The music being played in the video is the transcribed conversation between two designers.
Annalisa Swank and Ji Yong (Raisa) Park.

Found at: Noise made me do it

Monday, June 11, 2012

1:1 (one to one) clip | Richard Reeves

Exploring the one to one relationship between sound and picture. Both image and sounds are etched directly onto 35mm film. The first part of the visuals are actually the sounds you hear. A type of visual music.
Richard Reeves

Friday, June 8, 2012

Slap Bet!

Sissy-Boy Slap-Happy, Guy Maddin.



Clapping music - Steve Reich, George Manak (idea), Peter van der Ham (editing).



You Just Got Slapped, How I Met Your Mother