DIAMOND VARIATIONS: 2012

22.12.12

5.12.12

RAGLANI // TrampolineDream

Here is a video I made for Raglani. It's also the first video I made using footage produced with my LZX video synthesizer.

from the LP Real Colors Of The Physical World on Editions Mego.

editionsmego.com/release/eMEGO+159

30.11.12

Sunset Ok

Just stumbled upon this Vimeo channel filled with beautiful experiments.

Here is the description: Turbo computer, video synthesis, digital video feedback, software transparency, the signal, critical procedures.

turbo computer from sunset ok on Vimeo.

videoscape 0001 from sunset ok on Vimeo.

slice tool from sunset ok on Vimeo.

26.10.12

24.10.12

STEVE HAUSCHILDT // INTERCONNECTED

Here is a music video that I made using video feedback as raw material, then refilmed and manipulated digitally. Steve's music is wonderful, his new album Sequitur will come out in November via Kranky.

12.10.12

L'ARCHE DE NAM JUNE // Jean-Paul Fargier - 1981

24.9.12

AURORATONE

I was asked to participate in an interesting project for Film POP (part of POP Montreal festival) organized by Kier-La Janisse. The project consisted in making a video or a short film with the music of an artist performing at POP Montreal this year, and to make this piece in the same spirit as the obscur genre called Auroratone. Here is a brief description of what the event was all about and what an Auroratone is:

The Auroratone Project is a commission of original short films by experimental Canadian filmmakers set to the music of POP Montreal’s 2012 participants. ‘Auroratones’ were abstract musical films used in mental institutions and army hospitals after WWII as a means of soothing post-traumatic stress disorder and general mental disturbance, invented by film enthusiast Cecil Stokes who was continuing on nearly two centuries of previous pseudo-scientific attempts to correlate colour with musical notes. For POP Montreal, filmmakers Leslie Supnet (Manitoba), Emily Pelstring (Quebec), Jon Rafman (Quebec), Alex MacKenzie (BC), Walter Forsberg (Manitoba), Leslie Bell (Alberta), Jaimz Asmundson (Manitoba), Cheryl Hann (Nova Scotia), Tamara Scherbak (Quebec), Heather Rappard (Nova Scotia) and Sabrina Ratte (Quebec) were approached to create original abstract films guided by the principles of Cecil Stokes’ Auroratones.

http://popmontreal.com/events-tickets/le-projet-auroratone-nouvelles-frontieres-du-cinema-psychiatrique-the-auroratone-project-new-frontiers-in-psychiatric-cinema/

Here is the only known surviving Auroratone film, When the Organ Played 'O Promise Me,' which is in the private collection of Gus Martens -- himself an amateur cinema enthusiast and filmmaker, who at one time earned side-money projecting films at the Creedmor Psychiatric Center, in his native Queens, New York.

And, well, here is my own Auroratone, thanks a lot to Tim Hecker for giving the permission to use his music.

8.9.12

ARCHITECTURAL GLASS

In recent years, amazingly few books on contemporary stained glass have come onto the market, and of these hardly any cover specifically secular work. This absence of published material has allowed the myth to continue, even in the architectural world, that stained glass is still primarily a neo-Gothic, ecclesiastical medium. This book sets out to explode that myth. It seeks to create a new image, a new sense of what stained glass is about in the modern world.

Architectural Glass, Andrew Moor, Witney Library of Design, New York, 1989

Richard Spaulding, 1985

Lutz Haufschild, 1986

Kazumi Ikemoto, 1985

James Walker, 1984

Lutz Haufschild, 1981

Karl Traut, 1988

1.8.12

LE RÉVÉLATEUR // DATA DAZE

New video for Le Révélateur,

Horizon Fears cassette drops August 14 on NNA Tapes!

22.7.12

MAINMISE

Mainmise, organe québécois du rock international, de la pensée magique, et du gay savoir, a publié 78 numéros, entre 1970 et 1978. Voici un extrait tiré du texte "La technologie" en page 11.

Il me semble vraiment que c'est une erreur que de montrer la photographie de l'océan pour dire après: "ha! quel magnifique océan!...". Voilà encore une autre fausse expérience qui devient vite une autre distraction."

En ce que cela ne sert d'aucune façon cette petite chose en nous qui nous dirige.

À partir du point où je suis, cette imagerie intérieure (laquelle pourrait bien être ce qui naît du video/synthetizeur) me représente, en effet, mais sous un autre de relation par rapport à l'image.

Cela est tout à fait différent d'une image photographiée.

L'imagerie synthétisée est une sorte différente d'images; c'est une image qui n'est rien que sa propre et unique image.

On trouve cette notion de vibrations, d'ondes, à peu près partout où l'on se rassemble pour parler de matière de l'Univers. Ce vidéo électronique ressemble, pour le fond et à bien des égards, à ce dont est fait l'énergie naturelle. On théorise souvent sur l'énergie des quanta; ce que l'on voit comme solide n'est, en fait, que des ondes, lesquelles ne sont différentes, de nature, à la lumière par exemple.

(Stephen Beck, parlant du "Beck Direct Video Synthesizer", lequel produit des images télévisées sans le concours de caméra ou de tout autre intermédiaire optique.)

14.6.12

Jefre Cantu-Ledesma // Faceless Kiss

Video for Jefre Cantu-Ledesma

Alone Together #6 - Faceless Kiss / Blut Mond 7" [EC008]

emeraldcocoon.com/

17.5.12

LINKS ///

Over the last 2-3 years, I have been collecting images and videos as an inspiration for my creative work as well as for the pleasure of sharing them. I was obsessed by video art and its different manifestations. That obsession motivated me to dig into its history as well as to develop my own style of video images. All the artists featured on this blog are my teachers, my guides, and in some ways I can say that they are my heroes. All these researches helped me to create my ongoing relationship with the moving/still images, and I feel that I'm now moving on to an unkown place. I might still post here again, but I will do so on a more random way, not on a regular basis. I am currently working on other blogs, and I'll post the links here eventually...

I want to say thank you for following me here, as well as for you great comment and encouragement. I met some very interesting people through this blog and I really hope we'll keep in touch, no matter how.

Here is a compilation of some sources taken from this blog since its beginning; books and websites.

Artist and Computer, Edited by Ruth Leavitt, 1976

Gene Youngblood, Expanded Cinema, 1970

Paysages Virtuels, Image Vidéo, Image de Synthèse, Éditions DIS VOIR, Paris 1988

Herbert W. Franke, Computer Graphics - Computer Art, 1985

Melvin L. Prueitt, Art and the Computer, 1984

Gwin, William. Video Feedback: How to Make it; An Artist's Comments on its Use; A System Approach. San Francisco, CA: National Center for Experiments in Television at KQED, undated

Computer Images, Understanding Computers, Time-Life Books, Alexandria, Virginia, 1986

Jean Epstein, L'intelligence d'une machine, 1946

Voir l'invisible à travers le microscope, de Claude Nuridsany, 1978

Andreï Tarkovski, Lumière instantanée, éditions Philippe Rey, Paris 2002

Aldous Huxley, Heaven and Hell, 1956

Frontiers of Science, National Geographic Society, 1982

Stanislaw Lem, Solaris, 1961

5.5.12

JOHN C. HART

29.4.12

∎ l l l l ∎

Experiments with Azden - LZX- Video feedback

25.4.12

JEAN CONSTANT

Jean Constant is an artist who was born in France, and now lives in Los Alamos, New Mexico.
He is interested in exploring the overlap between arts and science. http://hermay.org/jconstant/
Here are some animations
http://www.hermay.org/jconstant/animation/animpattern.html
http://www.hermay.org/jconstant/animation/animbell.html

13.4.12

ART FOR MATHEMATICIANS

Hendrik Arie Baartman

10.4.12

KUEDO - ASCENSION PHASE

Tom Scholefield (Konx-om-Pax) just published this amazing music video for Kuedo. He asked me a few months ago to send him some video feedback footage. He did an incredible job at integrating them with his aesthetic. Stunning video!

Kuedo: Ascension Phase video created by Konx-om-Pax and Sabrina Ratté

Taken from the album 'Severant' (Planet Mu 2011)

5.4.12

MAROONED - 2012

Here is a video I made for Plink Flojd:

Plink Flojd is a super audio/visual collective started by David Quiles Guillo with co-founders Yoshi Sodeoka and Eric Mast AKA E*Rock. We collaborate with artists from all over the World and will be premiering our first installment of videos at NOVA®, in São Paulo, Brazil, in the spring of 2012.

27.3.12

EXPERIMENT IV

Experiment using video feedback, AZDEN VPC-10, LZX Video Synthesizer
Electronic sounds -Roger Tellier-Craig

23.3.12

EXPERIMENT III

Experiment using video feedback, AZDEN VPC-10, LZX Video Synthesizer
Electronic sounds -Roger Tellier-Craig

22.3.12

BRENNA MURPHY

Stunning work!
http://bmruernpnhay.com/
http://rhizome.org/editorial/2011/sep/21/artist-profile-brenna-murphy/

1.3.12

DOMINIK BARBIER // ORAGE // 1983

Recherche de paysages synthétiques à partir de trucages simples sur la matière vidéo (la neige, les parasites) et l'utilisation plus complexe du synthétiseur Spectre selon deux axes : le mou et le dur. Espaces traditionnels de la contemplation, le désert, la mer, le ciel sont ici le support d'une fiction ouverte, message d'espoir ou de désespoir.

29.2.12

EXPERIMENT II

Another experiment with the Azden VPC-10 and video feedback.
Electronic sounds by Roger Tellier-Craig

14.2.12

SARA LUDY : ROOMS

New video by Sara Ludy on Klausgallery.net, an online exhibition project by Klaus von Nichtssagend Gallery, curated by Duncan Malashock. More infos about the exhibition here.

13.2.12

LILLIAN SCHWARTZ

Lillian Schwartz added new amazing films on her Youtube channel!

9.2.12

COMPUTERS CLUB DRAWING SOCIETY

I have been drawing with the tools provided by Computers Club Drawing Society for a few months now and I thought I'd share some of my drawings here... CCDS is a great initiative by Krist Wood, with the important help of Robert Lorayn. (And both of these artists make absolutely gorgeous works!)
Here are some of my first drawings...

29.1.12

MELTING SIGNALS

I just bought this little analog mixer from classified adds. I couldn't find any informations on the AZDEN VPC-10 on the web; it's a very basic video mixer with which I can control colors, textures and make simple wipes and transitions. Here is an excerpt of my first experiments...

23.1.12

TOM DeFANTI

In 1973, he joined the faculty of the University of Illinois at Chicago. In the next 20 years at the University, DeFanti has amassed a number of credits, including: use of EVL hardware and software for the computer animation produced for the Star Wars movie. With Daniel J. Sandin, he founded the Circle Graphics Habitat, now known as the Electronic Visualization Laboratory (EVL). DeFanti contributed greatly to the growth of the SIGGRAPH organization and conference. He served as Chair of the group from 1981 to 1985, co-organized early film and video presentations, which became the Electronic Theatre, and in 1979 started the SIGGRAPH Video Review, a video archive of computer graphics research. http://www.calit2.net/people/staff_detail.php?id=67

Live performances, real-time instruments:
Spiral 5 PTL (Perhaps The Last) 1979

Dan Sandin, Tom DeFanti, and Mimi Shevitz
Live recording of performance before a small studio audience

Video by Tom DeFanti and Barbara Sykes

11.1.12

ART AND THE COMPUTER - MELVIN L. PRUEITT

All the following images are taken from Melvin L. Prueitt's book Art and the Computer.

The human visual system integrates line segments into subjectively perceived surfaces. (1982 Melvin L. Prueitt)

Richard F. Voss used fractal geometry to produce a very realistic scene. (1982 Benoit B. Mandelbrot, IBM Thomas J. Watson Research Center)

"Artic Twilight." Experimenting around with an erosion program. (1982 Melvin L. Prueitt)

"Concession to Scifi." There are number of ways to create abstract art with a computer. (1980 Darcy Gerbarg)

"Vanishing Essence." The reason that these plates are effective in producing a pleasant picture is that our visual systems are able to connect them together into unified curving surfaces. (1983 Melvin L. Prueitt)

Vibeke Sorenson's computer graphics design class in the Department of Communication Arts and Design at the Virginia Commonwealth University found that home computers could produce colorful patterns.

This was produced by James Squires as a graduate student using a Chromatics 7900 in the Fine Arts Department of UCLA.

"Rainbow Valley." The stripes in the rainbow actually consist of bent tubes. (1982 Melvin L. Prueitt)

4.1.12

KO NAKAJIMA

Ko Nakajima is one of the pioneer Japanese artists of video art. After beginnings in animation video, he made use of new technologies to appropriate and develop different softwares that allowed him to create veritable visual collages in movement. Each work is the expression of a unified research, progressively unveiled in the process of discovery of a life’s oeuvre.
Mount Fuji dates from the year 1984, at a time when Nakajima had already affirmed his style of manipulating images, and had established his universe distinguished by elements of nature and infused with Oriental philosophy. This tape is emblematic of the researches he conducted thanks to the invention of the aniputer, a machine which allows one to distort, superpose and embed images with ease, created in collaboration with JVC’s research department. Against the rhythm of repetitive music, different images of Mount Fuji compose geometric structures forming a Rubik’s cube’s perspectival frame, cut through by photographs which regularly come and drift away before the spectator.
Mount Fuji is a highly mystical site in Japanese culture, a religious and national symbol. It is at the heart of numerous works, placing man in relation to a mountain’s ancientness and its fundamental ambiguity – the possibility of a volcanic eruption dwells within the impression of stability and permanence. Playing with static and flat images that cut across the screen, Nakajima brings to mind the tectonic drift of plates which could at any time erase the benign image of Mount Fuji.

http://www.newmedia-arts.be/cgi-bin/show-oeu.asp?ID=150000000034495&lg=GBR