Jane Cassidy's new visual music piece - Square Ball is an installation piece and its inaugural presentation took place in Dublin, in August 2011 as part of the Glitch Festival 2011 organised by MART.
This was a really beautiful and clever installation that really is something that needs to be seen and sensed, as an audience member one has to face the projector as the most amazing layers of imagery and patterns unfold with great connections to the music.
Video excerpt online courtesy of Red Rua
Visit Jane's Blog
http://janecassidy.net/
Thursday, August 18, 2011
Friday, July 22, 2011
Christina McPhee - bird of paradise / channel three
Christina McPhee's three channel video triptych, Bird of Paradise (Christina McPhee 2011) is a stunning silent visual music work, with such visual harmony and balance - a very beautiful work.
Bird of Paradise three channels / 10 minutes / HD video /silent / 2011
bird of paradise / channel three from Christina McPhee on Vimeo.
It will premiere in a program curated by the Center for Visual Music at LACMA (Los Angeles County Museum of Art), in late July. The program will screen at LACMA through January 2012. Location: Stark Bar, central plaza (new design by Renzo Piano), LACMA.
Check out many of Christina's work on her vimeo channel (to date 39 uploaded)
http://vimeo.com/christinamcphee/videos
Christina's website:
http://www.christinamcphee.net/
About Christina
"Christina McPhee’s visual art, media and writings consider site as landscape and language. She develops film and media works that montage remote landscape footage at high – tech energy installations, and in ecosystems where biosphere meets human intervention in ‘kairotic’ spaces. Her drawing practice moves into critical spatial practice in media arts and writing."
Source: http:/www.christinamcphee.net/about-2/
Bird of Paradise three channels / 10 minutes / HD video /silent / 2011
bird of paradise / channel three from Christina McPhee on Vimeo.
It will premiere in a program curated by the Center for Visual Music at LACMA (Los Angeles County Museum of Art), in late July. The program will screen at LACMA through January 2012. Location: Stark Bar, central plaza (new design by Renzo Piano), LACMA.
Check out many of Christina's work on her vimeo channel (to date 39 uploaded)
http://vimeo.com/christinamcphee/videos
Christina's website:
http://www.christinamcphee.net/
About Christina
"Christina McPhee’s visual art, media and writings consider site as landscape and language. She develops film and media works that montage remote landscape footage at high – tech energy installations, and in ecosystems where biosphere meets human intervention in ‘kairotic’ spaces. Her drawing practice moves into critical spatial practice in media arts and writing."
Source: http:/www.christinamcphee.net/about-2/
Wednesday, July 20, 2011
Expanded Abstraction: CVM Program, Los Angeles
Opening late July,2011, Los Angeles:
Expanded Abstraction:
A special 3-screen program from CVM featuring Scott Draves' Generation 244, plus work by Robert Seidel, Baerbel Neubauer, Christina McPhee, Maura McDonnell and Charles Dockum. Curated by Cindy Keefer. LA County Museum of Art, central plaza, Stark Bar. On view beginning July 28, evenings through January, 2012. Images courtesy Scott Draves and the Electric Sheep. PREVIEW of McPhee's Bird of Paradise video triptych.
(re posted from CVM events page: http://www.centerforvisualmusic.org/Events.htm
OPENING NIGHT - Thursday, July 28
Please join CVM at LACMA at Stark Bar - Thursday, July 28
CVM's new *Expanded Abstraction* 3-screen program begins in LACMA's Stark
Bar (central plaza, next to main entrance) at 8 pm...that's the same night
as Marclay's THE CLOCK 24 hour screening in Bing Theatre...so please join us while taking a break from The CLOCK, as Stark Bar will be open until 2am screening the CVM program. Or come just to see abstract film/digital work curated by CVM.
*Expanded Abstraction* features *Scott Draves*' *Generation 244* (2010),
plus triptych work by *Christina McPhee, Robert Seidel, Baerbel Neubauer,
Maura McDonnell, Charles Dockum* and more. Runs through January 2012,
evenings only.
Expanded Abstraction:
A special 3-screen program from CVM featuring Scott Draves' Generation 244, plus work by Robert Seidel, Baerbel Neubauer, Christina McPhee, Maura McDonnell and Charles Dockum. Curated by Cindy Keefer. LA County Museum of Art, central plaza, Stark Bar. On view beginning July 28, evenings through January, 2012. Images courtesy Scott Draves and the Electric Sheep. PREVIEW of McPhee's Bird of Paradise video triptych.
(re posted from CVM events page: http://www.centerforvisualmusic.org/Events.htm
OPENING NIGHT - Thursday, July 28
Please join CVM at LACMA at Stark Bar - Thursday, July 28
CVM's new *Expanded Abstraction* 3-screen program begins in LACMA's Stark
Bar (central plaza, next to main entrance) at 8 pm...that's the same night
as Marclay's THE CLOCK 24 hour screening in Bing Theatre...so please join us while taking a break from The CLOCK, as Stark Bar will be open until 2am screening the CVM program. Or come just to see abstract film/digital work curated by CVM.
*Expanded Abstraction* features *Scott Draves*' *Generation 244* (2010),
plus triptych work by *Christina McPhee, Robert Seidel, Baerbel Neubauer,
Maura McDonnell, Charles Dockum* and more. Runs through January 2012,
evenings only.
Friday, June 10, 2011
Fast Forward: Conversations with Machines
Fast Forward: Conversations with machines
From camera obscura to cybernetics: filmmaker Joost Rekveld outlines experimental cinema from its hidden past to a distant future.
By Joost Rekveld
Essay
Quote from essay
"In this essay I want to develop my thoughts about possible futures for what is now referred to as experimental cinema, inspired by some of the ideas behind expanded cinema. Experimental cinema is a marginal cinema, not in the sense that its purpose is to remain obscure forever, but in the sense that those filmmakers are called experimental who challenge the categories of mainstream cinema. These same artists often cross over from or into other disciplines, so in order not to lose ourselves in speculations concerning the future of everything, we will have to rewind until we find a starting point from which we can can try and extrapolate. "
View online at:
http://preview.instantcinema.org/essays/852/Fast-Forward-Conversations-with-machines
Joost Rekveld website: http://www.lumen.nu/rekveld/wp/index.php
From camera obscura to cybernetics: filmmaker Joost Rekveld outlines experimental cinema from its hidden past to a distant future.
By Joost Rekveld
Essay
Quote from essay
"In this essay I want to develop my thoughts about possible futures for what is now referred to as experimental cinema, inspired by some of the ideas behind expanded cinema. Experimental cinema is a marginal cinema, not in the sense that its purpose is to remain obscure forever, but in the sense that those filmmakers are called experimental who challenge the categories of mainstream cinema. These same artists often cross over from or into other disciplines, so in order not to lose ourselves in speculations concerning the future of everything, we will have to rewind until we find a starting point from which we can can try and extrapolate. "
View online at:
http://preview.instantcinema.org/essays/852/Fast-Forward-Conversations-with-machines
Joost Rekveld website: http://www.lumen.nu/rekveld/wp/index.php
Wednesday, June 8, 2011
RUSSIAN PIONEERS OF SOUND ART AND MUSICAL TECHNOLOGY IN 1910-1930
GENERATION Z
RUSSIAN PIONEERS OF SOUND ART AND MUSICAL TECHNOLOGY IN 1910-1930
June 9 - July 20, 2011
OSA Archivum and the authors of GENERATION Z exhibition cordially invite you to the opening which will take place on 9th of June at 6:00 p.m. The exhibition will run at OSA Archivum, Budapest from June 9 till July 20, 2011.
ADDRESS: 1051 BUDAPEST, ARANY J. U. 32.
http://www.osaarchivum.org/
exhibition details at http://bit.ly/lSXejp
Variophone, theremin terpsitone, rhythmicon, emiriton, ekvodin, graphical sound – just to mention a few of the amazing innovations of the beginning of the 20th century in Soviet Russia, a country and time turbulent with revolutions, wars and totalitarian dictatorship.
While the history of Russian post-revolutionary avant-garde art and music is fairly well documented, the inventions and discoveries, names and fates of researchers of sound, creators of musical machines and noise orchestras, founders of new musical technologies have been largely forgotten except, perhaps, Leon Theremin, inventor of the first electronic musical instrument, the theremin.
This community of creators, however, was inherently incompatible with the totalitarian state. By the late 1930s it became effectively written out of histories, wiped out from text books.
Many of their ideas and inventions, considered as utopian at that time, were decades later rein vented abroad. We still use them today not knowing their origin.
This exhibition is an attempt at reconstructing and understanding the Russian artistic utopia.
The exhibition runs from June 9 till July 20.
June 24, 2011, on the Night of Museums, 10:00 p.m.:
Multimedia theremin concert: Najmányi László, visual artist, performer, theremin specialist.
Thanks to CVM for original post: http://www.centerforvisualmusic.org/
RUSSIAN PIONEERS OF SOUND ART AND MUSICAL TECHNOLOGY IN 1910-1930
June 9 - July 20, 2011
OSA Archivum and the authors of GENERATION Z exhibition cordially invite you to the opening which will take place on 9th of June at 6:00 p.m. The exhibition will run at OSA Archivum, Budapest from June 9 till July 20, 2011.
ADDRESS: 1051 BUDAPEST, ARANY J. U. 32.
http://www.osaarchivum.org/
exhibition details at http://bit.ly/lSXejp
Variophone, theremin terpsitone, rhythmicon, emiriton, ekvodin, graphical sound – just to mention a few of the amazing innovations of the beginning of the 20th century in Soviet Russia, a country and time turbulent with revolutions, wars and totalitarian dictatorship.
While the history of Russian post-revolutionary avant-garde art and music is fairly well documented, the inventions and discoveries, names and fates of researchers of sound, creators of musical machines and noise orchestras, founders of new musical technologies have been largely forgotten except, perhaps, Leon Theremin, inventor of the first electronic musical instrument, the theremin.
This community of creators, however, was inherently incompatible with the totalitarian state. By the late 1930s it became effectively written out of histories, wiped out from text books.
Many of their ideas and inventions, considered as utopian at that time, were decades later rein vented abroad. We still use them today not knowing their origin.
This exhibition is an attempt at reconstructing and understanding the Russian artistic utopia.
The exhibition runs from June 9 till July 20.
June 24, 2011, on the Night of Museums, 10:00 p.m.:
Multimedia theremin concert: Najmányi László, visual artist, performer, theremin specialist.
Thanks to CVM for original post: http://www.centerforvisualmusic.org/
Tuesday, June 7, 2011
Oskar Fischinger Painting Exhibition - Santa Fe, New Mexico
Oskar Fischinger (1900-1967) Major Painting Exhibition at the Peyton Wright Gallery - Santa Fe, New Mexico
Opening July 2011
Oskar Fischinger's paintings are being exhibited at the art dealers gallery - Peyton Wright Gallery. These paintings are a real treat to view. Peyton Wright Gallery have put many of Oskar Fischinger's paintings online, many of these have probably not been seen before, as they have not been put online before.
Some of these paintings have strong musical themes. There are several that I really like and a beautiful one for me is, Layers of Sound. However, there are many others and Fischinger's very distinct artistic and aesthetic style is really apparent. A great treat to be able to view these paintings online via the Peyton Wright Gallery, and if you are lucky enough to be near Sante Fe, a treat to see in reality.
View Paintings online at:
http://www.peytonwright.com/art/main.php?g2_itemId=9200
Opening July 2011
 |
| Oskar Fischinger - Layers of Sound |
Some of these paintings have strong musical themes. There are several that I really like and a beautiful one for me is, Layers of Sound. However, there are many others and Fischinger's very distinct artistic and aesthetic style is really apparent. A great treat to be able to view these paintings online via the Peyton Wright Gallery, and if you are lucky enough to be near Sante Fe, a treat to see in reality.
View Paintings online at:
http://www.peytonwright.com/art/main.php?g2_itemId=9200
Wednesday, May 25, 2011
'Raumlichtmusik' - Early 20th Century Abstract Cinema Immersive Environments.
"'Raumlichtmusik' - Early 20th Century Abstract Cinema Immersive Environments."
Essay by Cindy Keefer (Director Center for Visual Music)
"Leonardo Electronic Almanac, Creative Data Special Issue. Leonardo: The International Society for the Arts, Sciences, and Technology, and MIT Press. October 2009."
This is an important historical visual music essay on Oskar Fischinger and Jordan Belson's early experiments in creating abstract cinema for immersive projection environments. It traces the origins in their work of what is more common today - the immersive multimedia environment. Information about plans Fischinger had to present a multimedia performance for the Farblichtmusik shows (started by László) has been researched and documented in this essay and is very exciting information to check out for the scholar interested in accurately tracing the origins of visual music and in particular, its links to contemporary multimedia performance. The vortex concerts, are discussed in detail. These concerts are important to check out for both historical visual music but also in relation to tracing the origins of using projected visuals alongside electronic music, which is so common today, in relation to video projection with electroacoustic music. This article traces these connections and provides an introduction to its history. Do go and read.
Abstract
"Filmmakers Oskar Fischinger and Jordan Belson created cinematic multimedia experiments from 1926 to 1959; three of these events are predecessors to immersive environments: (A) Beginning in 1926, Fischinger's multiple projector shows combining abstract films, colored light projections, and painted slides; (B) Fischinger's 1944 (unrealized) concept for a dome theatre with center film projectors filling the sphere, creating "endless space without perspective" and (c) Belson and Henry Jacobs’ 1950s Vortex Concerts at Morrison Planetarium, utilizing multiple projectors and 38 speakers, with
“no separation of audience and stage or screen; the entire domed area becomes a living theater of sound and light."
Article can be read online at:
http://www.leonardo.info/LEA/CreativeData/CD_Keefer.pdf
Visit CVM Library Page for more resources in relation to visual music.
http://www.centerforvisualmusic.org/Library.html
Essay by Cindy Keefer (Director Center for Visual Music)
"Leonardo Electronic Almanac, Creative Data Special Issue. Leonardo: The International Society for the Arts, Sciences, and Technology, and MIT Press. October 2009."
This is an important historical visual music essay on Oskar Fischinger and Jordan Belson's early experiments in creating abstract cinema for immersive projection environments. It traces the origins in their work of what is more common today - the immersive multimedia environment. Information about plans Fischinger had to present a multimedia performance for the Farblichtmusik shows (started by László) has been researched and documented in this essay and is very exciting information to check out for the scholar interested in accurately tracing the origins of visual music and in particular, its links to contemporary multimedia performance. The vortex concerts, are discussed in detail. These concerts are important to check out for both historical visual music but also in relation to tracing the origins of using projected visuals alongside electronic music, which is so common today, in relation to video projection with electroacoustic music. This article traces these connections and provides an introduction to its history. Do go and read.
Abstract
"Filmmakers Oskar Fischinger and Jordan Belson created cinematic multimedia experiments from 1926 to 1959; three of these events are predecessors to immersive environments: (A) Beginning in 1926, Fischinger's multiple projector shows combining abstract films, colored light projections, and painted slides; (B) Fischinger's 1944 (unrealized) concept for a dome theatre with center film projectors filling the sphere, creating "endless space without perspective" and (c) Belson and Henry Jacobs’ 1950s Vortex Concerts at Morrison Planetarium, utilizing multiple projectors and 38 speakers, with
“no separation of audience and stage or screen; the entire domed area becomes a living theater of sound and light."
Article can be read online at:
http://www.leonardo.info/LEA/CreativeData/CD_Keefer.pdf
Visit CVM Library Page for more resources in relation to visual music.
http://www.centerforvisualmusic.org/Library.html
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