Ghost (1984) - Takashi Ito

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Outer Space (1999) - Peter Tscherkassky

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In half-light and fractured, staggering visuals, a young woman enters into a suburban house at night. As the door closes behind her, both the physical space and the surface of the projection begin to splinter, collapse and rupture. Spaces enclose and enfold, the female subject multiples and shatters across the screen, and the film itself screeches and tears as the sprockets and optical soundtrack violently invade the fictional world. Any semblance of a cinematic narrative is overwhelmed and assaulted, leaving it scattered in a thousand shards amid an entirely unique cinematic language. This is Peter Tscherkassky's Outer Space.

-- FROM "OUTER SPACE: THE MANUFACTURED FILM OF PETER TSCHERKASSKY" BY RHYS GRAHAM

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Ben Russell + Joe Grimm - MAZES (March 2009 / La Casa Encendida, Madrid)

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Ben Russell + Joe Grimm - Mazes from mediateletipos on Vimeo.

Originally via DINCA

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Full Throttle (2010) - Artie Vierkant

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Ongoing series presenting formal recordings of films streaming over the Internet at very slow (throttled) connection speed.

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Norman McLaren: Synchromie. Musique Optique at WRO Art Center on Vernissage TV

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Last month, I posted Norman McLaren's 1971 work Synchromy to Rhizome. Vernissage TV visited the WRO Art Center in Wrocław, Poland, where the exhibition surveying his career "Norman McLaren: Synchromie. Musique Optique" is currently on display. In this clip, curator Piotr Krajewski discusses McLaren's technique and relationship to sound.

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Les 400 Clicks (2008) - Adam Sajkowski

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Les 400 Clicks is a multimedia project referencing Francois Truffaut's 1959 French New Wave classic, Les 400 Coups (The 400 Blows). The original film has been reduced to 400 still frames taken arbitrarily from throughout the entire film, which can be played through in order by clicking the mouse, 400 times. This action is also synchronized with the film's original title score.

-- DESCRIPTION FROM THE ARTIST'S STATEMENT

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Synchromy/Synchromie (1971) - Norman McLaren

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Here are pyrotechnics of the keyboard, but with only a camera to "play the tune." To make this film, Norman McLaren employed novel optical techniques to compose the piano rhythms of the sound track. These he then moved, in multicolor, onto the picture area of the screen so that, in effect, you see what you hear. It is synchronization of image and sound in the truest sense of the word.

-- DESCRIPTION FROM UBUWEB

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Call for Applications

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Netmage 11, an international live media festival which takes place in January 2011 in Bologna, Italy, is seeking applications for their live media floor. The main section of their program, the live media floor is a platform for "generating and/or mixing images and sound of every type and format." Download the application here. Deadline is September 20, 2010.

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Displacements (2005) - Michael Naimark

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Displacements is an immersive film installation. An archetypal Americana living room was installed in an exhibition space. Then two performers were filmed in the space using a 16mm motion picture camera on a slowly rotating turntable in the room’s center. After filming, the camera was replaced with a film loop projector and the entire contents of the room were spray-painted white. The reason was to make a projection screen the right shape for projecting everything back onto itself. The result was that everything appears strikingly 3D, except for the people, who of course weren’t spray-paint white, and consequently appeared very ghostlike and unreal.

-- DESCRIPTION FROM ARTIST'S STATEMENT

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Digital (1997) - Tony Oursler

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