tag:blogger.com,1999:blog-18193829369776360582024-02-19T17:04:24.209+00:00Sounding Visual BlogThe Sounding Visual Blog is an art blog concerned with contemporary and past works of art that consist of a co-relationship between art with music or music with art. The blog gathers resources, inspiration, news about performance works, theatre works, cinematic works and audio visual works that belong to this theme of art and music and which is also current for a particular moment in time.Maura McDonnellhttp://www.blogger.com/profile/08621622002226523143noreply@blogger.comBlogger42125tag:blogger.com,1999:blog-1819382936977636058.post-83412304365672221442016-05-05T15:19:00.003+01:002016-05-05T15:22:30.860+01:00“Beneath the Snow – Piovono Ombre” - Gothic Project<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4qLmRLq-Z5FFUDpo23YHV7Ag73FoP92vfCPsX98kBQOPKhImR-F6-RKvEdB0pRVIljKAfVa0ot2XopTsyRaJkiPZFeFdQJdaCktlMJ52XCtDsSSO7EXZfgutgXxooMhNv9M0yuQ9uuzY/s1600/Screen+Shot+2016-05-05+at+15.18.57.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="168" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4qLmRLq-Z5FFUDpo23YHV7Ag73FoP92vfCPsX98kBQOPKhImR-F6-RKvEdB0pRVIljKAfVa0ot2XopTsyRaJkiPZFeFdQJdaCktlMJ52XCtDsSSO7EXZfgutgXxooMhNv9M0yuQ9uuzY/s320/Screen+Shot+2016-05-05+at+15.18.57.png" width="320" /></a>The Gothic Multimedia Project announce their latest multimedia opus project entitled “<b>Beneath the Snow – Piovono Ombre</b>” (“<b>Piovono Ombre</b>” meaning “It Rains Shadows” in Italian). It is an interactive movie featuring musical, artistic and lyrical contents and it's the fruit of the complex work of a team of 28 musicians, artists, actors, graphics, technicians who collaborated under the direction of James Maximilian Jason and David Bosch. <br />
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The film itself is partly comprised of musical-art tracks and partly of dialogues in Italian with English subtitles. The 32-page booklet, depicting the whole work as well as the single stories within the main story, is entirely in English.
Here you can see the trailer. It is officially released on May 28, 2016:<br />
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<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/gKL9k5p_Hpw" width="560"></iframe>
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<a href="https://www.youtube.com/watch?v=gKL9k5p_Hpw%C2%A0">https://www.youtube.com/watch?v=gKL9k5p_Hpw </a><br />
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“Gothic” is a dark avant-garde multimedia project founded in 1989 in Genova, Italy, having released ten demos as a band (1989-2000) and four huge official multimedia works as a multimedia ensemble (2001-2016).
Visit website at: <a href="http://www.gothicdimension.com/">http://www.gothicdimension.com/</a>Maura McDonnellhttp://www.blogger.com/profile/08621622002226523143noreply@blogger.com0tag:blogger.com,1999:blog-1819382936977636058.post-45013790953035923212015-12-18T18:58:00.000+00:002016-04-22T18:13:38.125+01:00A Digital Choir - The Forty Part Motet<br />
SFMOMA On the Go programming concludes with the California debut of<b> Janet Cardiff</b>’s immersive sound installation <b>The Forty Part Motet</b>, co-presented with the Fort Mason Center for Arts & Culture. November 14, 2015 – January 18, 2016<br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small; text-align: start;">Exhibition entry - SFMOMA website</span></td></tr>
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See: SFMOMA website: <a href="https://www.sfmoma.org/exhibition/janet-cardiff-forty-part-motet/">https://www.sfmoma.org/exhibition/janet-cardiff-forty-part-motet/</a><br />
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Article by <b>Sam Devine</b> on: "INCREDIBLE SOUND INSTALLATION VIA SFMOMA & FORT MASON CENTER" SFMOMA’s<br />
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"The digital choir swells and the room floods with relaxation. Male and female voices ring out in a swirling chord as loud as if the singers were standing where the speakers are placed. Then a sudden rest pierces the room with startling silence."<br />
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"The 40 Part Motet, currently on display at Fort Mason Center until January 18, is a rare mixture of musical performance and physical art installation. It straddles not just definition but also affect. Close your eyes and it’s virtual reality for the ears, revealing what it’s like to be in the midst of a choir. Or monitor the room visually and conduct a strange study in human behavior."<br />
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<a href="http://brokeassstuart.com/blog/2015/12/17/a-choir-dissected/">http://brokeassstuart.com/blog/2015/12/17/a-choir-dissected/</a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCtKc2qcKy_loKZH2mZEOy0vD4TVNi8Q8DfIMBow-6jL3n3GStckfqdR1nsbVwz8Z-zU2zV7yNobuQBBUXvjvcELbn2VzJkx7ujXXgo3f0VLC_7kq-8x9_UgdKWkXHmSmQ8p2jUI3ndxg/s1600/Picture+2.png" imageanchor="1"><img border="0" height="281" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCtKc2qcKy_loKZH2mZEOy0vD4TVNi8Q8DfIMBow-6jL3n3GStckfqdR1nsbVwz8Z-zU2zV7yNobuQBBUXvjvcELbn2VzJkx7ujXXgo3f0VLC_7kq-8x9_UgdKWkXHmSmQ8p2jUI3ndxg/s640/Picture+2.png" width="640"></a></div>
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Maura McDonnellhttp://www.blogger.com/profile/08621622002226523143noreply@blogger.com0tag:blogger.com,1999:blog-1819382936977636058.post-70041482932234621912015-12-17T23:22:00.000+00:002015-12-18T23:26:09.074+00:00Interview by Derivative with Kinetic Lights Christopher BauderDerivative interviews Christopher Bauder of Kinetic Lights System.<br />
<a href="https://www.derivative.ca/Events/2015/KineticLights/%C2%A0">https://www.derivative.ca/Events/2015/KineticLights/</a><br />
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<tr><td class="tr-caption" style="text-align: center;">Website screen-grab</td></tr>
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"Brainchild of Christopher Bauder, the modular Kinetic Light System is an award-winning product embedding TouchDesigner which choreographs and moves not just light and pixels but actual physical objects, high above one’s head via steel wire and powered cable DMX winches to which large arrays of light elements are tethered."<br />
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Example Installation: <b>The Vodafone stand at the CeBIT 2015</b><br />
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<iframe allowfullscreen="" frameborder="0" height="281" mozallowfullscreen="" src="https://player.vimeo.com/video/128309644?color=ffffff" webkitallowfullscreen="" width="500"></iframe> <br />
<a href="https://vimeo.com/128309644">Kinetic Lights Sculpture with DMX winches and LED triangle lights for Vodafone @ IFA 2015 Eurovision</a> from <a href="https://vimeo.com/whitevoid">WHITEvoid</a> on <a href="https://vimeo.com/">Vimeo</a>.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDuvobyEj9EX0b_CR0JD7hfYnRPFnDtVRjNS96jsSFnn3n8tsocaZXJOYR9RQTTa-Vkst0AEGlj7ej9mvyaWUL9Nks9EkGqfptmmV1u1ZJoGT9mzWWbxRAZDwYxXPI9UhzoCPG2feCriY/s1600/Picture+2.png" imageanchor="1"><img border="0" height="156" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDuvobyEj9EX0b_CR0JD7hfYnRPFnDtVRjNS96jsSFnn3n8tsocaZXJOYR9RQTTa-Vkst0AEGlj7ej9mvyaWUL9Nks9EkGqfptmmV1u1ZJoGT9mzWWbxRAZDwYxXPI9UhzoCPG2feCriY/s400/Picture+2.png" width="400" /></a><br />
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"The Vodafone stand at the CeBIT 2015 features a monumental light installation composed of 600 static Rod Lights arranged with our new Space Frame system and powered by Driver LED controllers. The complex 3D structure is complimented by 150 Pixel Line LED strips integrated in the floor."<br />
Source: <a href="http://www.kinetic-lights.com/2015/03/18/kinetic-lights-installation-cebit-2015/">http://www.kinetic-lights.com/2015/03/18/kinetic-lights-installation-cebit-2015/</a><br />
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<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.kinetic-lights.com/portfolio/multi-grid/">http://www.kinetic-lights.com/portfolio/multi-grid/</a></td></tr>
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<br />Maura McDonnellhttp://www.blogger.com/profile/08621622002226523143noreply@blogger.com0tag:blogger.com,1999:blog-1819382936977636058.post-2642421589707653602015-03-02T17:09:00.001+00:002016-05-03T20:47:42.164+01:00The National Concert Hall, Dublin - RTÉ National Symphony Orchestra and So Percussion: Lang - man made, John Luther Adams - Become Ocean. David Lang's Festival of MusicDavid Lang's Festival of Music.<br />
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The National Concert Hall, Dublin - RTÉ National Symphony Orchestra and So Percussion: Lang - man made, John Luther Adams - Become Ocean.<br />
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David Lang's Festival of Music.<br />
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I am invited to this concert Friday 6th March, 2015.<br />
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<a href="https://www.nch.ie/online/RTE-NSO-with-So-Percussion-06Mar15">The National Concert Hall, Dublin - RTÉ National Symphony Orchestra and So Percussion: Lang - man made, John Luther Adams - Become Ocean. David Lang's Festival of Music</a><br />
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Hear on youtube: John Luther Adams: Become Ocean<br />
http://youtu.be/dGva1NVWRXk<br />
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<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/dGva1NVWRXk" width="560"></iframe>Maura McDonnellhttp://www.blogger.com/profile/08621622002226523143noreply@blogger.com0tag:blogger.com,1999:blog-1819382936977636058.post-1962089418709216122015-02-07T18:12:00.001+00:002015-02-07T19:30:21.492+00:00Animation about: Edmund Burke and the sublime<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghVdMc-g18YuCGyFmFFHzpdn3rd2LKMFp6FiKTYjQ708F1f-NJOxJrmJJ9RyoJzODNs9fvVk73AEhgxPZAtHz2fwCXeHclLuHhoP484pKFrLrR5nmZo0rajzhwc037hvRlAGy2j8FCiWE/s1600/Screen+shot+2015-02-07+at+18.01.19.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghVdMc-g18YuCGyFmFFHzpdn3rd2LKMFp6FiKTYjQ708F1f-NJOxJrmJJ9RyoJzODNs9fvVk73AEhgxPZAtHz2fwCXeHclLuHhoP484pKFrLrR5nmZo0rajzhwc037hvRlAGy2j8FCiWE/s1600/Screen+shot+2015-02-07+at+18.01.19.png" height="178" width="320" /></a>History of Ideas
Short animations to explain some big questions around freewill, beauty and good and evil.
"A fresh take on the History of Ideas as big subjects like beauty, freedom, technology and morality get dissected by a team of thinkers. Philosophers, theologians, lawyers, Neuroscientists, historians and mathematicians join Melvyn Bragg to present a history in many voices."<br />
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See link to all animations in the series
<a href="http://www.bbc.co.uk/programmes/articles/3vVjcY47k2p5Wsnj3ZFHV5W/a-history-of-ideas">http://www.bbc.co.uk/programmes/articles/3vVjcY47k2p5Wsnj3ZFHV5W/a-history-of-ideas</a><br />
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Example Animation<br />
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<b>Edmund Burke and the sublime</b><br />
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<iframe frameborder="0" height="500" src="http://www.bbc.co.uk/programmes/p02b8t1k/player" width="400"></iframe><br />
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"Some things that move us are beautiful, others are sublime. But the sublime moves us more profoundly than the beautiful. See how Edmund Burke tied the experience of the sublime to the possibility of pain and how the idea went on to influence the artistic Romanticism movement.
Voiced by Harry Shearer. Scripted by Nigel Warburton."<br />
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Source: <a href="http://<br />">http://www.bbc.co.uk/programmes/p02b8t1k </a><br />
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BOOK: A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful<br />
<a href="http://www.gutenberg.org/files/15043/15043-h/15043-h.htm#A_PHILOSOPHICAL_INQUIRY">Read Book online</a> - Project Gutenberg<br />
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<b>Investigate Further</b><br />
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The Enlightenment - 6 The Enlightenment on art, genius and the sublime<br />
Open University <a href="http://www.open.edu/openlearn/history-the-arts/history/history-art/the-enlightenment/content-section-8">http://www.open.edu/openlearn/history-the-arts/history/history-art/the-enlightenment/content-section-8</a><br />
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<a href="http://www.bbc.co.uk/history/historic_figures/burke_edmund.shtml">http://www.bbc.co.uk/history/historic_figures/burke_edmund.shtml</a><br />
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<a href="http://plato.stanford.edu/entries/burke/">http://plato.stanford.edu/entries/burke/</a><br />
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<br />Maura McDonnellhttp://www.blogger.com/profile/08621622002226523143noreply@blogger.com0tag:blogger.com,1999:blog-1819382936977636058.post-71212746224067601232014-01-31T13:29:00.002+00:002015-12-18T23:26:51.071+00:00Theatre of Speaking Objects - Project Arts Centre, DublinInteresting exhibition taking place in the Project Arts Centre in Dublin, Ireland called "The Theatre of Speaking Objects", even the title is so evocative.<br />
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<b>The Theatre of Speaking Objects by Czech artist Eva Kotátková </b><br />
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"Theatre of Speaking Objects knits together extraordinary, poignant and personal accounts of complex relationships with language. Eva Koťátková has gathered stories and remembrances from around the world, and located them within a cast of used objects and therapeutic props, things that are used to speak for the subjects – subjects who sometimes cannot speak for themselves – becoming mediators and containers for human voices and personal stories."<br />
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You can check out some more information in relation to the project at the following url:<br />
<a href="http://projectartscentre.ie/event/theatre-speaking-objects/">http://projectartscentre.ie/event/theatre-speaking-objects/</a><br />
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<br />Maura McDonnellhttp://www.blogger.com/profile/08621622002226523143noreply@blogger.com0tag:blogger.com,1999:blog-1819382936977636058.post-31208006440523102222013-09-30T09:20:00.001+01:002013-09-30T10:37:38.299+01:00Links and Resources - September 2013September 2013 has been a very busy month from personal to PhD work and more! Moving house and a protracted close of sale. An amazing MOCAP workshop in Helsinki, Finland and a paper presentation in Tampere, Finland. The 3rd DAH Institute in Derry, or should I say stroke city as locals there sometimes call Derry. A poetry book launch and reading by Catherine Culleni in the Trinity Long Room Hub, a screening programme of Synthesis 2 by Fractal music at the IFI, a one day visualisation workshop with Sarah Kenderdine in the Trinity Long Room Hub, negotitations re a lecture on the work of the CVM to be held in the ATRL, back teaching on MMT. A book to review by Nuno Correla (really looking forward to that). Birthdays and meet ups.. and lots of not returned emails, which I must do in October..it has been intense. <div>In the middle of this, a kind of disinterested browsing of resources and sites I have come across and so to try to capture some of these browsing links so I can come back to them when I am less busy (but will I?) I am throwing them into this post to demarc my discovery of them.</div><div><br></div><div>Learning Resource</div><div><br></div><div>Virtual ANS (drawn sound)</div><div><span style="-webkit-text-size-adjust: auto; background-color: rgba(255, 255, 255, 0);">Virtual ANS is a software simulator of the unique Russian synthesizer <a href="http://en.wikipedia.org/wiki/ANS_synthesizer">ANS</a> - photoelectronic <a href="http://en.wikipedia.org/wiki/Microtonal_music">microtonal</a>/<a href="http://en.wikipedia.org/wiki/Spectral_music">spectral</a> musical instrument created by Russian engineer<a href="http://en.wikipedia.org/wiki/Evgeny_Murzin">Evgeny Murzin</a> from 1938 to 1958. Murzin named his invention in honour of the composer <a href="http://en.wikipedia.org/wiki/Alexander_Scriabin">Alexander Nikolayevich Scriabin</a>.<br>The instrument was used by Stanislav Kreichi, <a href="http://en.wikipedia.org/wiki/Alfred_Schnittke">Alfred Schnittke</a>, <a href="http://en.wikipedia.org/wiki/Edison_Denisov">Edison Denisov</a>, <a href="http://en.wikipedia.org/wiki/Sofia_Gubaidulina">Sofia Gubaidulina</a>, <a href="http://en.wikipedia.org/wiki/Edward_Artemiev">Edward Artemiev</a> and other Soviet composers.<br>You can hear the sound of the ANS in <a href="http://en.wikipedia.org/wiki/Andrei_Tarkovsky">Andrei Tarkovsky</a>'s movies <a href="http://en.wikipedia.org/wiki/Solaris_(1972_film)">Solaris</a>, <a href="http://en.wikipedia.org/wiki/The_Mirror_(1975_film)">The Mirror</a>, <a href="http://en.wikipedia.org/wiki/Stalker_(1979_film)">Stalker</a>.</span></div><div>http://warmplace.ru/soft/ans/</div><div><br></div><div>Youtube ANS</div><div><span style="background-color: rgba(255, 255, 255, 0); -webkit-text-size-adjust: auto; font-family: 'Helvetica Neue Light', HelveticaNeue-Light, helvetica, arial, sans-serif;">Virtual ANS: Sound to Image and Vice Versa</span></div><div><span style="background-color: rgba(255, 255, 255, 0); -webkit-text-size-adjust: auto; font-family: 'Helvetica Neue Light', HelveticaNeue-Light, helvetica, arial, sans-serif;">Virtual ANS is a software simulator of the unique Russian synthesizer ANS - photoelectronic microtonal/spectral musical instrument created by Russian engineer Evgeny Murzin from 1938 to 1958.</span></div><div><div class="_mnab" style="margin: 20px 0px 0px;"><span style="-webkit-text-size-adjust: auto; background-color: rgba(255, 255, 255, 0);">The app is cross-platform and available for iOS, Android, Windows, Linux and OSX.<br>More info: <a href="http://warmplace.ru/soft/ans" target="_blank" title="http://warmplace.ru/soft/ans" rel="nofollow" dir="ltr" class="_myw" style="overflow: hidden; word-wrap: normal; text-overflow: ellipsis; display: inline-block; max-width: 15em; text-decoration: none;">http://warmplace.ru/soft/ans</a></span></div></div><div><span style="background-color: rgba(255, 255, 255, 0); -webkit-text-size-adjust: auto;"><font face="Helvetica Neue Light, HelveticaNeue-Light, helvetica, arial, sans-serif">http://m.youtube.com/watch?v=A6aYQUsQYMg&feature=share&desktop_uri=%2Fwatch%3Fv%3DA6aYQUsQYMg%26feature%3Dshare</font></span></div><div><span style="background-color: rgba(255, 255, 255, 0); -webkit-text-size-adjust: auto;"><font face="Helvetica Neue Light, HelveticaNeue-Light, helvetica, arial, sans-serif"><br></font></span></div><div><span style="background-color: rgba(255, 255, 255, 0); -webkit-text-size-adjust: auto;"><font face="Helvetica Neue Light, HelveticaNeue-Light, helvetica, arial, sans-serif">Hackpad</font></span></div><div><span style="background-color: rgba(255, 255, 255, 0); -webkit-text-size-adjust: auto;"><font face="Helvetica Neue Light, HelveticaNeue-Light, helvetica, arial, sans-serif">hackpad.com</font></span></div><div><br></div><div><a href="http://www.creativeapplications.net/objects/full-turn-draws-third-dimension-using-a-flat-screen-rotating-at-high-speed/" rel="bookmark" title="Permanent Link to ‘Full Turn’ draws third dimension using a flat screen rotating at high speed" sl-processed="1" style="background-color: rgba(255, 255, 255, 0); -webkit-text-size-adjust: auto; font-family: 'Helvetica Neue Light', HelveticaNeue-Light, helvetica, arial, sans-serif; text-decoration: none;">‘Full Turn’ draws third dimension using a flat screen rotating at high speed</a></div><div><span style="background-color: rgba(255, 255, 255, 0); -webkit-text-size-adjust: auto;"><font face="Helvetica Neue Light, HelveticaNeue-Light, helvetica, arial, sans-serif">http://www.creativeapplications.net/objects/full-turn-draws-third-dimension-using-a-flat-screen-rotating-at-high-speed/</font></span></div><div><br></div><div>Introduction to Computer Programming Languages - Video Lessons by Daniel Shiffman</div><div>https://vimeo.com/channels/introcompmedia/page:1</div><div><br></div><div>Produce a hand-drawn aesthetic in After Effects</div><div>http://m.computerarts.co.uk/tutorials/produce-hand-drawn-aesthetic-after-effects</div><div><br></div><div>numbercult</div><div>http://numbercult.com</div><div><br></div><div>Articles and Papers and Books</div><div><br></div><div><h1 style="margin: 0px 0px 0.5em; padding: 0px; border: 0px; font-weight: normal; vertical-align: baseline;"><span style="font-size: 17px; -webkit-text-size-adjust: auto; background-color: rgba(255, 255, 255, 0);">Circle the Square: Film Performances by Iimura Takahiko in the 1960s </span><span class="authors" style="-webkit-text-size-adjust: auto; font-family: 'Helvetica Neue Light', HelveticaNeue-Light, helvetica, arial, sans-serif; font-size: 17px; font-style: inherit; font-variant: inherit; margin: 0px; padding: 0px; border: 0px; vertical-align: baseline;">By <a href="http://post.at.moma.org/profiles/415-julian-ross" style="margin: 0px; padding: 0px; border: 0px; font-style: inherit; font-variant: inherit; vertical-align: baseline; cursor: pointer; text-decoration: none;">Julian Ross</a></span><span style="background-color: rgba(255, 255, 255, 0); -webkit-text-size-adjust: auto; font-family: 'Helvetica Neue Light', HelveticaNeue-Light, helvetica, arial, sans-serif; font-size: 17px;"> </span></h1></div><div><span style="background-color: rgba(255, 255, 255, 0); -webkit-text-size-adjust: auto;"><font face="Helvetica Neue Light, HelveticaNeue-Light, helvetica, arial, sans-serif">http://post.at.moma.org/content_items/290-circle-the-square-film-performances-by-iimura-takahiko-in-the-1960s</font></span></div><div><span style="background-color: rgba(255, 255, 255, 0); -webkit-text-size-adjust: auto;"><font face="Helvetica Neue Light, HelveticaNeue-Light, helvetica, arial, sans-serif"><br></font></span></div><div><span style="background-color: rgba(255, 255, 255, 0); -webkit-text-size-adjust: auto;"><font face="Helvetica Neue Light, HelveticaNeue-Light, helvetica, arial, sans-serif">Open Journals - online resources</font></span></div><div><span style="background-color: rgba(255, 255, 255, 0); -webkit-text-size-adjust: auto;"><font face="Helvetica Neue Light, HelveticaNeue-Light, helvetica, arial, sans-serif">Film - Philosophy Vol. 7 - 14</font></span></div><div><span style="background-color: rgba(255, 255, 255, 0); -webkit-text-size-adjust: auto;"><font face="Helvetica Neue Light, HelveticaNeue-Light, helvetica, arial, sans-serif">http://oajournals.blogspot.ie/search/label/Film-Philosophy%20Vol.%207-14</font></span></div><div><span style="background-color: rgba(255, 255, 255, 0); -webkit-text-size-adjust: auto;"><font face="Helvetica Neue Light, HelveticaNeue-Light, helvetica, arial, sans-serif">Film - Philosophy Vol. 1 - 6</font></span></div><div><span style="background-color: rgba(255, 255, 255, 0); -webkit-text-size-adjust: auto;"><font face="Helvetica Neue Light, HelveticaNeue-Light, helvetica, arial, sans-serif">http://oajournals.blogspot.ie/search/label/Film-Philosophy%20Vol.%201-6</font></span></div><div><span style="background-color: rgba(255, 255, 255, 0); -webkit-text-size-adjust: auto;"><font face="Helvetica Neue Light, HelveticaNeue-Light, helvetica, arial, sans-serif"><br></font></span></div><div style="text-align: start;"><font color="#000000" style="margin: 0px; padding: 0px; border: 0px; font-weight: 600; vertical-align: baseline; text-decoration: none; cursor: default; text-align: center; -webkit-text-size-adjust: auto; background-color: rgba(255, 255, 255, 0);"><a href="http://www.academia.edu/4211472/Audio-visuo-spatial_mappings_in_real-time_how_musical_training_shapes_gestural_cross-modal_correspondences" class="title_link" style="margin: 0px; padding: 0px; border: 0px; font-weight: 600; vertical-align: baseline; text-decoration: none; cursor: default; text-align: center; -webkit-text-size-adjust: auto; background-color: rgba(255, 255, 255, 0);">Audio-visuo-spatial mappings in real-time: how musical training shapes gestural cross-modal correspondences</a></font></div><div><a href="http://www.academia.edu/4211472/Audio-visuo-spatial_mappings_in_real-time_how_musical_training_shapes_gestural_cross-modal_correspondences">http://www.academia.edu/4211472/Audio-visuo-spatial_mappings_in_real-time_how_musical_training_shapes_gestural_cross-modal_correspondences</a></div><div><br></div><div><span style="-webkit-text-size-adjust: auto; background-color: rgba(255, 255, 255, 0);">The first release of <i>Nodewebba</i> software is now available from <a href="http://bathatmedia.com/Software/Nodewebba/index.html" style="text-decoration: none;">BatHatMedia.com</a>, free and open source for Macintosh and Windows.</span></div><div><span style="background-color: rgba(255, 255, 255, 0); -webkit-text-size-adjust: auto;">http://bathatmedia.blogspot.co.uk/2013/09/nodewebba-generative-music-software-now.html</span></div><div><span style="background-color: rgba(255, 255, 255, 0); -webkit-text-size-adjust: auto;"><br></span></div><div><span style="background-color: rgba(255, 255, 255, 0); -webkit-text-size-adjust: auto;">Phonology and CymaScope Reseach</span></div><div><span style="background-color: rgba(255, 255, 255, 0); -webkit-text-size-adjust: auto;">http://www.cymascope.com/cyma_research/phonology.html</span></div><div><span style="-webkit-text-size-adjust: auto;">Really interesting Cymascope links to articles and research. </span></div><div><span style="-webkit-text-size-adjust: auto;">In particular must download </span><b><font style="-webkit-text-size-adjust: auto; background-color: rgba(255, 255, 255, 0);">Harmonic Voice Mandala</font></b></div><div><span style="-webkit-text-size-adjust: auto;">http://www.cymascope.com/cyma_research/articles.html</span></div><div><span style="-webkit-text-size-adjust: auto;">CymaScope Musicology Notes - 12 Piano Notes made visible</span></div><div><span style="-webkit-text-size-adjust: auto;">http://www.cymascope.com/cyma_research/musicology.html</span></div><div><span style="-webkit-text-size-adjust: auto;"><br></span></div><div><span style="-webkit-text-size-adjust: auto;">Hearing Rhythmic Gestures</span></div><div><span style="-webkit-text-size-adjust: auto;">http://www.people.carleton.edu/~jlondon/Keynote%20Webdocument.htm</span></div><div><span style="-webkit-text-size-adjust: auto;"><br></span></div><div><span style="-webkit-text-size-adjust: auto;">Cinemazine</span></div><div><span style="-webkit-text-size-adjust: auto;">http://www.cinemazine.net/about/</span></div><div><span style="-webkit-text-size-adjust: auto;">Canyon cinemazine issue 3</span></div><div><span style="-webkit-text-size-adjust: auto;">http://www.expcinema.com/site/en/calls-for-entries/canyon-cinemazine-issue-3</span></div><div><span style="-webkit-text-size-adjust: auto;"><br></span></div><div><span style="background-color: rgba(255, 255, 255, 0); -webkit-text-size-adjust: auto; font-family: 'Helvetica Neue Light', HelveticaNeue-Light, helvetica, arial, sans-serif;">Reciprocal Analogy, Baudelaire’s Imaginative Instinct</span></div><div><span style="-webkit-text-size-adjust: auto;">http://attentiveequations.com/2011/06/25/reciprocal-analogy-baudelaires-imaginative-instinct/</span></div><div><span style="-webkit-text-size-adjust: auto;"><br></span></div><div><span style="-webkit-text-size-adjust: auto;">Poetry in the condition of music</span></div><div><span style="-webkit-text-size-adjust: auto;">http://www.sas.upenn.edu/~cavitch/pdf-library/McGann_Wagner.pdf</span></div><div><span style="-webkit-text-size-adjust: auto;"><br></span></div><div><span style="-webkit-text-size-adjust: auto;">The Well Sequenced Synthesiser</span></div><div><span style="-webkit-text-size-adjust: auto;">http://www.creativeapplications.net/processing/the-well-sequenced-synthesizer-by-luisa-pereira/</span></div><div><span style="-webkit-text-size-adjust: auto;"><br></span></div><div><span style="-webkit-text-size-adjust: auto;">BOOK: The Sound of Painting - Music in Modern Art</span></div><div><span style="-webkit-text-size-adjust: auto;">http://books.google.ie/books/about/The_sound_of_painting.html?id=AHJPAAAAMAAJ&redir_esc=y</span></div><div><span style="-webkit-text-size-adjust: auto;"><br></span></div><div><span style="font-family: 'Helvetica Neue Light', HelveticaNeue-Light, helvetica, arial, sans-serif; -webkit-text-size-adjust: auto;">Events</span></div><div><span style="-webkit-text-size-adjust: auto;">Elecktra - BEAF</span></div><div><span style="-webkit-text-size-adjust: auto;">Electronic Arts Festival</span></div><div><span style="-webkit-text-size-adjust: auto;">http://2013.elektramontreal.ca/downloads/FOCUS_QUEBEC_ELEKTRA.pdf</span></div><div><br></div><div><span style="-webkit-text-size-adjust: auto;">European Expanded Cinema</span></div><div><span style="-webkit-text-size-adjust: auto;">http://www.expcinema.com/site/en/events/european-expanded-cinema</span></div><div><span style="-webkit-text-size-adjust: auto;"><br></span></div><div><span style="-webkit-text-size-adjust: auto;">Bozar </span></div><div><span style="-webkit-text-size-adjust: auto;">http://focus.levif.be/culture/musique/bozar-electronic-arts-festival-le-quebec-a-l-honneur/article-normal-10535.html</span></div><div><span style="-webkit-text-size-adjust: auto;"><br></span></div><div><a href="http://www.creativeapplications.net/maxmsp/light-house-light-and-sound-installation-for-sonos-by-softlab/" rel="bookmark" title="Permanent Link to Light House – Light and sound installation for Sonos by SoftLab" sl-processed="1" style="background-color: rgba(255, 255, 255, 0); -webkit-text-size-adjust: auto; font-family: 'Helvetica Neue Light', HelveticaNeue-Light, helvetica, arial, sans-serif; text-decoration: none;">Light House – Light and sound installation for Sonos by SoftLab</a></div><div><span style="font-family: 'Helvetica Neue Light', HelveticaNeue-Light, helvetica, arial, sans-serif;">http://www.creativeapplications.net/maxmsp/light-house-light-and-sound-installation-for-sonos-by-softlab/</span></div><div><span style="font-family: 'Helvetica Neue Light', HelveticaNeue-Light, helvetica, arial, sans-serif;"><br></span></div><div><span style="font-family: 'Helvetica Neue Light', HelveticaNeue-Light, helvetica, arial, sans-serif;">Works</span></div><div><span style="font-family: 'Helvetica Neue Light', HelveticaNeue-Light, helvetica, arial, sans-serif;">Matthew Biederman - Event Horizon</span></div><div><font face="Helvetica Neue Light, HelveticaNeue-Light, helvetica, arial, sans-serif">https://vimeo.com/42405832</font></div><div><font face="Helvetica Neue Light, HelveticaNeue-Light, helvetica, arial, sans-serif"><br></font></div><div><font face="Helvetica Neue Light, HelveticaNeue-Light, helvetica, arial, sans-serif">4youreye</font></div><div><font face="Helvetica Neue Light, HelveticaNeue-Light, helvetica, arial, sans-serif">http://visualmusicarchive.org/artists/a/4youreye.html</font></div><div><font face="Helvetica Neue Light, HelveticaNeue-Light, helvetica, arial, sans-serif"><br></font></div><div><font face="Helvetica Neue Light, HelveticaNeue-Light, helvetica, arial, sans-serif">Craig Allan</font></div><div><font face="Helvetica Neue Light, HelveticaNeue-Light, helvetica, arial, sans-serif">http://visualmusicarchive.org/artists/a/allan.html</font></div><div><font face="Helvetica Neue Light, HelveticaNeue-Light, helvetica, arial, sans-serif"><br></font></div><div><font face="Helvetica Neue Light, HelveticaNeue-Light, helvetica, arial, sans-serif">http://www.lightrhythmvisuals.com</font></div><div><font face="Helvetica Neue Light, HelveticaNeue-Light, helvetica, arial, sans-serif"><br></font></div><div><font face="Helvetica Neue Light, HelveticaNeue-Light, helvetica, arial, sans-serif">audiovisual academy</font></div><div><font face="Helvetica Neue Light, HelveticaNeue-Light, helvetica, arial, sans-serif">http://audiovisualacademy.com/avin/en/?nr=1</font></div><div><font face="Helvetica Neue Light, HelveticaNeue-Light, helvetica, arial, sans-serif">modules history</font></div><div><font face="Helvetica Neue Light, HelveticaNeue-Light, helvetica, arial, sans-serif">http://audiovisualacademy.com/avin/en/modules/history/</font></div><div><font face="Helvetica Neue Light, HelveticaNeue-Light, helvetica, arial, sans-serif">all modules</font></div><div><font face="Helvetica Neue Light, HelveticaNeue-Light, helvetica, arial, sans-serif">http://audiovisualacademy.com/avin/en/modules/</font></div><div><font face="Helvetica Neue Light, HelveticaNeue-Light, helvetica, arial, sans-serif"><br></font></div><div><font face="Helvetica Neue Light, HelveticaNeue-Light, helvetica, arial, sans-serif">Generative Design</font></div><div><font face="Helvetica Neue Light, HelveticaNeue-Light, helvetica, arial, sans-serif">http://www.generative-gestaltung.de/about</font></div><div><font face="Helvetica Neue Light, HelveticaNeue-Light, helvetica, arial, sans-serif"><br></font></div><div><font face="Helvetica Neue Light, HelveticaNeue-Light, helvetica, arial, sans-serif">Swedish VJ Union</font></div><div><font face="Helvetica Neue Light, HelveticaNeue-Light, helvetica, arial, sans-serif">Learning and Links http://www.vjunion.se/learning/</font></div><div><font face="Helvetica Neue Light, HelveticaNeue-Light, helvetica, arial, sans-serif"><br></font></div><div><font face="Helvetica Neue Light, HelveticaNeue-Light, helvetica, arial, sans-serif">vizzable</font></div><div><font face="Helvetica Neue Light, HelveticaNeue-Light, helvetica, arial, sans-serif">http://zealousy.com/2011/01/vizzable/</font></div><div><font face="Helvetica Neue Light, HelveticaNeue-Light, helvetica, arial, sans-serif"><br></font></div><div><font face="Helvetica Neue Light, HelveticaNeue-Light, helvetica, arial, sans-serif">video circuits blog</font></div><div><font face="Helvetica Neue Light, HelveticaNeue-Light, helvetica, arial, sans-serif">http://videocircuits.blogspot.co.uk</font></div><div><br></div><div><font face="Helvetica Neue Light, HelveticaNeue-Light, helvetica, arial, sans-serif">BOOK Art in cinema</font></div><div><font face="Helvetica Neue Light, HelveticaNeue-Light, helvetica, arial, sans-serif">http://visualmusicarchive.org/reading/r/art-in-cinema.html</font></div><div><font face="Helvetica Neue Light, HelveticaNeue-Light, helvetica, arial, sans-serif"><br></font></div><div><font face="Helvetica Neue Light, HelveticaNeue-Light, helvetica, arial, sans-serif">music and media course current work</font></div><div><font face="Helvetica Neue Light, HelveticaNeue-Light, helvetica, arial, sans-serif">http://musikundmedien.net/en/projects/current/visual-music/</font></div><div><font face="Helvetica Neue Light, HelveticaNeue-Light, helvetica, arial, sans-serif"><br></font></div><div><font face="Helvetica Neue Light, HelveticaNeue-Light, helvetica, arial, sans-serif">Using visualizations for music discovery</font></div><div><font face="Helvetica Neue Light, HelveticaNeue-Light, helvetica, arial, sans-serif">http://scwn.net/2009/10/27/a-magnum-opus-of-music-visualization/</font></div><div><font face="Helvetica Neue Light, HelveticaNeue-Light, helvetica, arial, sans-serif"><br></font></div><div><font face="Helvetica Neue Light, HelveticaNeue-Light, helvetica, arial, sans-serif">visualizing music</font></div><div><font face="Helvetica Neue Light, HelveticaNeue-Light, helvetica, arial, sans-serif">http://www.ethanhein.com/wp/2011/visualizing-music/</font></div><div><font face="Helvetica Neue Light, HelveticaNeue-Light, helvetica, arial, sans-serif"><br></font></div><div><div class="large-text" style="margin-left: 2px; margin-bottom: 5px;"><h1 class="mediumb-text" style="margin-bottom: 0px; margin-top: 0px;"><strong style="font-size: 17px; -webkit-text-size-adjust: auto; background-color: rgba(255, 255, 255, 0);">Music visualization technique of repetitive structure representation to support intuitive estimation of music affinity and lightness</strong></h1><h1 class="mediumb-text" style="margin-bottom: 0px; margin-top: 0px;"><span style="font-family: 'Helvetica Neue Light', HelveticaNeue-Light, helvetica, arial, sans-serif; font-size: 17px; background-color: rgb(255, 255, 255); -webkit-text-size-adjust: auto; font-weight: normal;">http://dl.acm.org/citation.cfm?id=2230820</span></h1><div><span style="font-family: TimesNewRomanBdMS; font-size: 14pt;"><br></span></div><div><span style="font-family: TimesNewRomanBdMS; font-size: 14pt;">REAL-TIME MUSIC VISUALIZATION
USING RESPONSIVE IMAGERY </span></div><div><span style="background-color: rgb(255, 255, 255); -webkit-text-size-adjust: auto;"><font face="Helvetica Neue Light, HelveticaNeue-Light, helvetica, arial, sans-serif">http://www.researchgate.net/publication/228788711_REAL-TIME_MUSIC_VISUALIZATION_USING_RESPONSIVE_IMAGERY/file/79e4150b69ad28c884.pdf</font></span></div><div><span style="background-color: rgb(255, 255, 255); -webkit-text-size-adjust: auto;"><font face="Helvetica Neue Light, HelveticaNeue-Light, helvetica, arial, sans-serif"><br></font></span></div><h2 class="title" style="margin: 10px 0px; padding: 0px; clear: both; font-weight: bold;"><span style="font-size: 17px; -webkit-text-size-adjust: auto; background-color: rgba(255, 255, 255, 0);">Algorithmic Dimension: A Digital Arts Masterclass with Ernest Edmonds, Manfred Mohr, Frieder Nake and Roman Verostko</span></h2><div><span style="background-color: rgb(255, 255, 255); -webkit-text-size-adjust: auto;"><font face="Helvetica Neue Light, HelveticaNeue-Light, helvetica, arial, sans-serif">http://www.seanclark.me.uk/blogpost.html?itemid=56256&listingid=37079&feedid=37080</font></span></div></div></div><div><span style="font-family: 'Helvetica Neue Light', HelveticaNeue-Light, helvetica, arial, sans-serif;"><br></span></div><div><br></div><div><br></div><div><span style="-webkit-text-size-adjust: auto;"><br></span></div><div><br></div><div><span style="-webkit-text-size-adjust: auto;"><br></span></div><div><span style="-webkit-text-size-adjust: auto;"><br></span></div><div><span style="-webkit-text-size-adjust: auto;"><br></span></div><div><span style="background-color: rgba(255, 255, 255, 0); -webkit-text-size-adjust: auto;"><br></span></div><div><span style="background-color: rgba(255, 255, 255, 0); -webkit-text-size-adjust: auto;"><br></span></div>Maura McDonnellhttp://www.blogger.com/profile/08621622002226523143noreply@blogger.com0tag:blogger.com,1999:blog-1819382936977636058.post-35040776774934221872012-04-26T22:32:00.003+01:002012-04-26T22:33:30.451+01:00SYMPOSIUM ON CREATIVE TECHNOLOGIESThe Symposium on Creative Technologies was held at the Science Gallery, TCD, on Tuesday, April 17, 2012 - 14:00 - 19:00. There were many strands of research teams at Trinity College who are involved in research re creative technologies. The ATRL had a team there to present in relation to Digital Arts. Matthew Causey, director of the ATRL invited some of us DAH (Digital Arts Humanities) PhD students to present our research in the Digital Arts slot. <br />
<br />
I was one of the presenters as well as Neill O'Dwyer, Sharon Phelan, Aidan Delaney.<br />
Cobi and Emma were providing moral support. <br />
I presented on Visual Music! <br />
There were some really interesting presentations, in particular those from Neil, Sharon and Aidan.<br />
<br />
For more information, there is an archive link here:<br />
<a href="http://www.sciencegallery.com/events/2012/04/symposium-creative-technologies">http://www.sciencegallery.com/events/2012/04/symposium-creative-technologies</a><br />
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<tr><td class="tr-caption" style="text-align: center;">Emma Meehan took this photograph of my presentation, she also took several more, which can be viewed on the facebook page - <a href="https://www.facebook.com/media/set/?set=a.311037508966677.68400.211649892238773&type=1" target="_blank">LINK</a></td></tr>
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<br />Maura McDonnellhttp://www.blogger.com/profile/08621622002226523143noreply@blogger.com0tag:blogger.com,1999:blog-1819382936977636058.post-50362853583779593512012-04-12T14:52:00.000+01:002012-04-12T14:52:50.877+01:00Pina Bausch - Full Moon - Dance Theatre<div class="separator" style="clear: both; text-align: center;">
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From
Vollmond
Tanztheater Wuppertal Pina Bausch
2010 Next Wave Festival
BAM Howard Gilman Opera HouseMaura McDonnellhttp://www.blogger.com/profile/08621622002226523143noreply@blogger.com0tag:blogger.com,1999:blog-1819382936977636058.post-42096191097813012452012-03-27T14:14:00.000+01:002012-03-27T14:39:14.857+01:00Music and the Body - Symposium - Sonorities Festival 2012The <em class="hilite">Two Thousand + TWELVE</em><br />
<<< International symposium focusing on music and the body >>> took place in SARC (the Sonic Arts Research Centre) at Queens University, Belfast on Saturday 24th March, 2012. Running alongside the symposium was the annual week long Sonorities Festival of Contemporary Music, which again focused on the theme of music and the body.<br />
Link: <a href="http://www.qub.ac.uk/sonorities/symposium.html">http://www.qub.ac.uk/sonorities/symposium.html</a><br />
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<strong>Music and the Body Symposium</strong><br />
I attended the symposium and attended some of the 'open fader' concerts that were held in the SARC center on the sat (23rd) and sun (24th) March. It was an incredibly interesting and exciting two days, at the cutting edge of technology, performance, music and the body. Perhaps it gave me a glimpse into the future. <br />
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The idea that the body can emanate music through technology and to then use that body and in particular its inner workings to create musical material in a performance setting, is wondrous. For me, it brings a mysterious element to the whole performance. The speakers at the symposium all presented their way of accessing the inner workings of the body, the devices they build to transfer that information into musical material. Even though the intervention is really very technological, its the ideas that were most fascinating.<br />
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<strong>Ben Knapp - The Ecosystem of Biosignal Interaction</strong><br />
Ben Knapp works with ways to measure emotion and empathy and that the data generated from these measurements drive the musical material. He explained the artistic, engineering and scientific underpinnings of "the concept of an Integral Music Controller (a generic class of controllers that use the direct measurement of motion and emotion to augment traditional methods of musical instrument control" (<a href="http://www.mu.qub.ac.uk/Staff/AcademicStaff/DrBenKnapp/" target="_blank">source</a>)<br />
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One performance video example he demonstrated of his performance with his Integral Music Controller was really fascinating. The piece is called Stem Cells, with the music composed by Eric Lyon and Interaction Design and Performance by Ben Knapp.<br />
As he sat on the stage and visibly displayed emotions and agitation and states of calm, which affected the data that was displayed on a projection screen beside him and affected the musical material. Fascinating that the mysterious inner world of thought and emotion could provide such a variety of reactions that could be measured and used to control a music performance. It is for the audience, like the 'invisible' controls the music.<br />
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<strong>Youtube Excerpt of Stem Cells Performance</strong><br />
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/snPCnPxoJk4?feature=player_embedded' frameborder='0'></iframe></div>
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<strong>Ben Knapp on body, signals, and energy</strong><br />
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<a href="http://vimeo.com/2510192">Ben Knapp on body, signals, and energy</a> from <a href="http://vimeo.com/steim">STEIM Amsterdam</a> on <a href="http://vimeo.com/">Vimeo</a>.<br />
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All papers were really integrated and followed similar and related themes.<br />
Link: <a href="http://www.qub.ac.uk/sonorities/symposium.html">http://www.qub.ac.uk/sonorities/symposium.html</a><br />
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<strong>Open Fader Concerts</strong><br />
I went to the two Open Fader Concerts in SARC on the sat 23rd and sun 24th March, 2012. Each concert was fascinating. However, the two highlights for me were two performances that took place at the sunday concert, <strong>The Biomuse Concert</strong> (full programme link: <a href="http://www.qub.ac.uk/sonorities/full-schedule.html">http://www.qub.ac.uk/sonorities/full-schedule.html</a> )<br />
BioMusic Concert (Sonic LAB: 1.10pm)<br />
Miguel Ortiz - Dentro<br />
Marco Donnarumma - Music for Flesh II<br />
Conor Barry - BeatBack <br />
Samson Young - I am thinking in a room<br />
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<strong>Miguel Ortiz - Dentro</strong> was an brilliant and exhilirating performance, but all he did was sit on the stage, with subtle controllers attached, a darkened room, and the odd interjection of a video projection of the inner body on his torso. Fully dressed in black, eyes closed for the full performance. <br />
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Miguel emanated a presence, a kind of expectation and performance presence, and yet all he did was sit on a stool with hands on knees, nearly in a meditative pose. From these poses he performed himself and his inner emotions and physical body into states of calm, repose to states of agitation where you could see his shoulders move up and down. He was generating these states himself, for an audience the changes were subtle but very perceivable and from these states, he was able to gather the data to generate musical material and wow how powerful that muscial material was as his states moved from calm to agititation, greatly helped by the power of the mutliple speakers in the auditorium and the sheer physicality of some of the low frequencies, at times, I thought the cage that holds the sarc auditorium together might come apart, so powerful were the sounds. Yet, Miguel was in the same pose. This was one of the most thrilling performances I have seen in a long time and the potential for this, is immense. The idea that ones inner bodies workings can emanate such sounds.<br />
Website: <a href="http://www.miguel-ortiz.com/">http://www.miguel-ortiz.com/</a> I hope the Sonorities team put a video of this performance on the web soon and that this piece gets to have lots of performances, though Miguel looked visibily exhausted after the performance.<br />
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For details about the symposium, here is a link to follow:<br />
<a href="http://www.qub.ac.uk/sonorities/symposium.html">http://www.qub.ac.uk/sonorities/symposium.html</a><br />
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Ben Knapp was the keynote speaker - and what a truly fascinating presentation he gave on his Music, Sensors, and Emotion research group work and performances. <br />
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<a href="http://www.qub.ac.uk/sonorities/ben-knapp.html">http://www.qub.ac.uk/sonorities/ben-knapp.html</a>Maura McDonnellhttp://www.blogger.com/profile/08621622002226523143noreply@blogger.com0tag:blogger.com,1999:blog-1819382936977636058.post-11978934607367796412012-03-04T12:15:00.000+00:002012-03-04T12:17:41.418+00:00Short Presentation on My PhD Research Topic - Visual MusicFor the core module - History of Digital Arts, Matthew Causey and Rod Stoneman asked each of the Digital Arts PhD candidates on the DAH programme to prepare a short presentation on our PhD research topic, key ideas and influences presented on the 20th February 2012 in the ATRL, Trinity College, Dublin. For this presentation, I prepared a powerpoint presentation on My Research is... Visual Music.<br />
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My Research is... Visual Music by Maura McDonnell, PhD candidate, Digital Arts and Humanities, Trinity College, Dublin<br />
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Slideshow embed of powerpoint slide:<br />
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<strong style="display: block; margin: 12px 0 4px;"><a href="http://www.slideshare.net/webexistential/maura-mcdonnell-visual-music-research-topic" target="_blank" title="Maura McDonnell - Visual Music Research Topic">Maura McDonnell - Visual Music Research Topic</a></strong> <object height="497" id="__sse11853840" width="595"> <param name="movie" value="http://static.slidesharecdn.com/swf/ssplayer2.swf?doc=mauramcdonnell-myresearchis-120304055316-phpapp01&stripped_title=maura-mcdonnell-visual-music-research-topic&userName=webexistential" />
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View more <a href="http://www.slideshare.net/" target="_blank">presentations</a> from <a href="http://www.slideshare.net/webexistential" target="_blank">webexistential</a> </div>
</div>Maura McDonnellhttp://www.blogger.com/profile/08621622002226523143noreply@blogger.com0tag:blogger.com,1999:blog-1819382936977636058.post-47482640918879213972012-03-03T13:22:00.000+00:002012-03-03T13:22:19.108+00:00Marcio Ambrosio - Oups<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcirg_LNiReDwVxZnAMM5JZDYWqWLv3Zo0kTRDjPrTUWlKXk6zoyKE1oPQOwi-UFGDPVGISEutA50krTa-pb6N_9xrgzPFz89Z1r9R6EDfK_vSjGduP-s7rcE4MxgweOiYjnawO2YZmhM/s1600/oups_11.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="237" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcirg_LNiReDwVxZnAMM5JZDYWqWLv3Zo0kTRDjPrTUWlKXk6zoyKE1oPQOwi-UFGDPVGISEutA50krTa-pb6N_9xrgzPFz89Z1r9R6EDfK_vSjGduP-s7rcE4MxgweOiYjnawO2YZmhM/s400/oups_11.jpg" width="400" /></a><b>Marcio Ambrosio - Oups</b><br />
Interactive Video Installation<br />
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2007</div>
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"Capturing and tracking camera, animated image integration and projectionCreated in 2007<br />
Oups! was born from the wish to mix new technologies and classic animation in a playful and artistic way. Each animated sequence has a script and the visitor interacts and transforms himself into an actor of this story. When the visitor enters in a defined space, a camera records his image and projects it on a screen in front (like a mirror) in real size and time. The visitor sees himself integrated to an animation setting that follow his movements. He founds himself immersed in a creative universe of images and sounds. The animation sequences that feed this universe are stored in a video library, new animations may be added to enrich the project. Oups! universe is playful and naive, accessible to all publics and ages."<br />
Source: <a href="http://www.marcioambrosio.com/Oups">http://www.marcioambrosio.com/Oups</a><br />
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Video embed</div>
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<embed src="http://vimeo.com/moogaloop.swf?clip_id=4189672&server=vimeo.com&show_title=1&show_byline=0&show_portrait=0&color=adaa55&fullscreen=1&autoplay=0&loop=0" type="application/x-shockwave-flash" allowfullscreen="true" allowscriptaccess="always" width="600" height="330"></embed></object><br />
<a href="http://vimeo.com/4189672">Oups! Presentation Updated!</a> from <a href="http://vimeo.com/marcioambrosio">Marcio Ambrosio</a> on <a href="http://vimeo.com/">Vimeo</a>.<br />
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<br /></div>Maura McDonnellhttp://www.blogger.com/profile/08621622002226523143noreply@blogger.com0tag:blogger.com,1999:blog-1819382936977636058.post-45989340594814659502012-03-02T13:28:00.000+00:002012-03-03T13:29:22.465+00:00Architecture - SUBdv - Sonic Design Studio"Designed as a rehearsal space for the Lee Konitz Nonet and Blue Seven Jazz ensembles, the design for the Sonic Studio rehearsal space was developed using the algorithmic digital modeling technique of geodetic sub-division. The configuration of ceiling acoustic panels produces multi-directional sound reflections from the variably sized and angled surfaces, creating a diffuse sound landscape within the room. These panels were fabricated using computer numerically controlled laser cutting technology. "<br />
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Source: <a href="http://www.subdv.com/architecture/?p=88">http://www.subdv.com/architecture/?p=88</a></div>
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CREDITS subdv: Franklin Lee and Anne Save de Beaurecueil<br />
Contractor: Garra Construcoes: Paulo Chang<br />
Acoustic Engineer: Alberto Ranelluchi<br />
Photograph: Rodrigo Schust<br />
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Website: <a href="http://www.subdv.com/architecture/?p=88">http://www.subdv.com/architecture/?p=88</a></div>Maura McDonnellhttp://www.blogger.com/profile/08621622002226523143noreply@blogger.com0tag:blogger.com,1999:blog-1819382936977636058.post-69240935605171445942012-02-28T14:32:00.001+00:002012-02-28T14:32:12.306+00:00SHIRO TAKATANI - La Chambre claireLa Chambre claire © Shiro Takatani (Japan, 2008)<br />Performance at the Biwako Hall Center for the Performing Arts, Shiga, Japan, 2010.<div>
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<b>Youtube Embed</b><br /><br />
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This is so clever - what a wonderful idea to create an internet umbrella.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2rYes5RrRr4GCUAqS-vStkPrY4HVOfpwekOiX6t_XMBqNd2-_ahEeTTPnJ2UnUa-l1TZU8pijLXuJOIxKAp6RX5uQZkwE1kACCFcFdztFpr91MCYQqKoiZeElqh90tFagKwaRNbGegIQ/s1600/252986258_9c00b43cfd.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2rYes5RrRr4GCUAqS-vStkPrY4HVOfpwekOiX6t_XMBqNd2-_ahEeTTPnJ2UnUa-l1TZU8pijLXuJOIxKAp6RX5uQZkwE1kACCFcFdztFpr91MCYQqKoiZeElqh90tFagKwaRNbGegIQ/s400/252986258_9c00b43cfd.jpg" width="400" /></a></div>
<br />"Pileus is an umbrella connected to the Internet to make walking in rainy days fun. Pileus has a large screen on the top surface, a built-in camera, a motion sensor, GPS, and a digital compass. The current prototype has two main functions: photo-sharing and 3D map navigation. <br />The photo function is connected to a major web service: Flickr API. A user can take photo with a camera on the umbrella, and pictures are uploaded to Flickr in two minutes with context tags via a wireless Internet connection. User can also enjoy theirselves watching photo-streams downloaded from Flickr with simple operation of wrist snapping."<br />Source: <a href="http://www.pileus.net/">http://www.pileus.net/</a><br /><br />
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Vimeo Embed Demonstration<br />
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<a href="http://vimeo.com/11725815">Pileus Internet Umbrella</a> from <a href="http://vimeo.com/user711305">Takashi Matsumoto</a> on <a href="http://vimeo.com/">Vimeo</a>.<br />
Pileus is the internet umbrella to make rainy days fun! Prod. by T. Matsumoto & S. Hashimoto. from Keio University. <a href="http://www.pileus.net/">pileus.net</a>Maura McDonnellhttp://www.blogger.com/profile/08621622002226523143noreply@blogger.com0tag:blogger.com,1999:blog-1819382936977636058.post-4942594377111343262012-02-21T18:23:00.000+00:002012-02-21T18:23:28.560+00:00Audio Palimpsest<div class="separator" style="clear: both; text-align: center;">
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"Audio palimpsest is an interactive sound-based installation which explores applications of indeterminacy and randomness in an interactive platform. Based on a reconfigured cassette recorder, Audio Palimpsest is meant to be viewed indoors, where upon interaction, it will start recording ambient sounds in the space and playing it back simultaneously. Over time and after multiple interactions, content of the magnetic tape builds up, layering previous recordings thus creating a palimpsest of sound."
<br />source: <a href="http://youtu.be/cxU-EA4sWO4">http://youtu.be/cxU-EA4sWO4</a><br />
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<b>The Criminal Life of Archibaldo de la Cruz </b>(Ensayo de un Crimen)<br />
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Youtube - Full Film<br />
<a href="http://youtu.be/7-_6xm7ccR4">http://youtu.be/7-_6xm7ccR4</a><br />
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<b>The Exterminating Angel</b><br />
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Youtube - Full Film<br />
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<b>The Discreet Charm of the Bourgeoisie</b></div>
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Youtube - Full Film<br />
<a href="http://youtu.be/43wZwNkGSaE">http://youtu.be/43wZwNkGSaE</a><br />
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USEFUL LINKS<br />
plot descriptions: <a href="http://www.filmref.com/directors/dirpages/bunuel.html#obscure" target="_blank">http://www.filmref.com/directors/dirpages/bunuel.html#obscure </a><br />
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<br />Maura McDonnellhttp://www.blogger.com/profile/08621622002226523143noreply@blogger.com0tag:blogger.com,1999:blog-1819382936977636058.post-17961338333555019422012-02-14T12:43:00.000+00:002012-02-28T12:50:15.138+00:00Futurism – Movement and Sensation<b>FUTURISM - MOVEMENT AND SENSATION</b><br />
by Maura McDonnell<br />
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Futurism praised and glorified the energy, speed and danger of machines in art. The futurists had disgust for and rebelled against the 'relics of the past' (interestingly these relics in museums were ok for the old, the disabled and prisoners - people with no future?). The new beauty was not the old art of the past, such as the sculptor piece 'Victory of Samothrace', but the beauty of speed.<br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="background-color: white; color: black; display: inline ! important; float: none; font-family: Arial,Helvetica,sans-serif; font-size: 10px; font-style: italic; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 15px; orphans: 2; text-align: center; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">Victory of Samothrace</span></td></tr>
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How was something so ephemeral and invisible to the eye as speed to be rendered in painting?<br />
Something invisible but felt?<br />
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In the two painting manifestos and in particular the Technical Manifesto of Futurist Painting, added to the futurist list of statements is the celebration of science - 'victorious science'. Science could reveal what was hidden in nature and to our vision, x-rays had penetrated the 'opacity' and materiality of the body. Chronophotography and the time-lapse photography of <a href="http://americanhistory.si.edu/muybridge/" target="_blank">Eadweard Muybridge</a> and <a href="http://americanhistory.si.edu/muybridge/htm/htm_sec1/sec1p3.htm" target="_blank">Étienne-Jules Marey</a> had provided a means of analysing and seeing movement via an image by breaking down movement into a sequence of superimposed images, emulated then in futurist painting.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJprXXaCsonz1XG8rR72P263ffkNwl7vURYcjL2KG2-bmwOneLzASTVS-XCAk1_IWKmqhGw48Vho31Z3LkAtwQSpVIsgFXomdySs76t9deT6vwvIUnGaCE4mDs5oUyTY2axLJIKohiuXI/s1600/giacomo_balla_speed_of_a_motorcycle.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="460" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJprXXaCsonz1XG8rR72P263ffkNwl7vURYcjL2KG2-bmwOneLzASTVS-XCAk1_IWKmqhGw48Vho31Z3LkAtwQSpVIsgFXomdySs76t9deT6vwvIUnGaCE4mDs5oUyTY2axLJIKohiuXI/s640/giacomo_balla_speed_of_a_motorcycle.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Giacomo Balla, Speed of a Motorcycle, 1913, Oil on Canvas</td></tr>
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Invisible phenomenon to the eye such as motion, speed, movement could be revealed through photography and painting and therefore simulated in painting creating a sensation of movement.<br />
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Science also provided artists with new knowledge at the time about colour theory and how our eye mixed light. These related to how the eye responded to light and vibrancy, in particular Michel Chevreul's theory of <a href="http://www.webexhibits.org/colorart/simultaneous.html" target="_blank">simultaneous contrast</a> which influenced the divisionist technique in painting and as such divisionism was promoted by the futurists. Divisionism a form of additive colour mixing, was considered to assist in creating vibrancy and luminosity in a painting. Here, contrasting colours laid side by side create a new colour and one that is more vibrant than traditional colour mixing.<br />
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With such ephemeral, vibrant sensation sought in their paintings, more statements from their manifesto sum up their ideas. 'Movement and light destroy the materiality of bodies' and 'Our bodies penetrate the sofas upon which we sit, and the sofas penetrate our bodies. The motor bus rushes into the houses which it passes, and in their turn the houses throw themselves upon the motor bus and are blended with it'. It is then to this incredible painting that I end my presentation - <b>The Street Enters The House</b> by Umberto Boccioni. <br />
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This very short writing on Futurism was prepared for a presentation on the History and Theory of Digital Arts Seminar on Thursday 8th February 2012, where Mathew Causey asked us to prepare a short presentation on one of a number of topics. I chose Futurism as I have always been fascinated with the emphasis painters put on motion and sensation in their works. This short presentation is based on three pieces of art work and based on reading the following futurist manifestos.
<b>The Futurist Manifesto</b> by F. T. Marinetti, 1909
<a href="http://www.unknown.nu/futurism/painters.html" target="_blank">http://cscs.umich.edu/~crshalizi/T4PM/futurist-manifesto.html</a>
<b>Manifesto of the Futurist Painters</b> by Umberto Boccioni, Carlo Carrà, Luigi Russolo, Giacomo Balla, Gino Severini
<a href="http://www.unknown.nu/futurism/painters.html" target="_blank">http://www.unknown.nu/futurism/painters.html</a>
<b>Technical Manifesto of Futurist Painting</b> by Umberto Boccioni, Carlo Carrà, Luigi Russolo, Giacomo Balla, Gino Severini
<a href="http://www.unknown.nu/futurism/techpaint.html" target="_blank">http://www.unknown.nu/futurism/techpaint.html</a><br />
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source images from:<br />
<a href="http://musee.louvre.fr/oal/victoiredesamothrace/victoiredesamothrace_acc_en.html%20" target="_blank">http://musee.louvre.fr/oal/victoiredesamothrace/victoiredesamothrace_acc_en.html </a><br />
<a href="http://upload.wikimedia.org/wikipedia/commons/thumb/0/0e/Umberto_Boccioni_-_A_strada_entra_nella_casa.jpg/574px-Umberto_Boccioni_-_A_strada_entra_nella_casa.jpg">http://upload.wikimedia.org/wikipedia/commons/thumb/0/0e/Umberto_Boccioni_-_A_strada_entra_nella_casa.jpg/574px-Umberto_Boccioni_-_A_strada_entra_nella_casa.jpg</a>Maura McDonnellhttp://www.blogger.com/profile/08621622002226523143noreply@blogger.com0tag:blogger.com,1999:blog-1819382936977636058.post-18538597476002991792012-02-12T21:53:00.001+00:002012-02-12T22:05:14.752+00:00Dumb Type Memorandum"<span style="background-color: white; font-family: Tahoma, sans-serif; font-size: 12px; text-align: left;">Dumb Type, the artists´ collective that was founded in 1987 in Kyoto is almost unparalleled in its fusion of the body and new media. Both artists and audience are transported to border zones of perception between life and death, inner and outer, image and reality. The group asks the question posed by many Performers in East Asia: is the body a projection space for social, economic and political processes which are written into every individual? Or is the body the last core of resistance of archaically anchored identity in a culture?"<br />Source: </span><span style="font-family: Tahoma, sans-serif;"><span style="font-size: 12px;"><a href="http://www.culturebase.net/artist.php?195">http://www.culturebase.net/artist.php?195</a></span></span><br />
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<span style="font-family: Tahoma, sans-serif;">VISIT WEBSITE: <a href="http://dumbtype.com/works/memorandum">http://dumbtype.com/works/memorandum</a></span><br />
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Reconstruction of Ballet Tradico from the Margarete Hastings sketches.
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Part 1<br />
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Part 2<br />
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A very interesting website (in French) - an online research website of the work of Oskar Schlemmer at:</div>
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<a href="http://triadicos.wordpress.com/">http://triadicos.wordpress.com/</a><br />
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A really interesting seminar - Rerunning Ballet Tradico Seminar
"the seminar is intended as a space for reflection on the creation stage, particularly on what some call "broad-ranging dance reconstruction" and that we are more interested in the processes that determine results, we have called "rerunning" a term that assumes more open as interpreter of anyone who wants to rerun a past stage work."<br />
<a href="http://triadicos.wordpress.com/seminario-de-reejecucion/">http://triadicos.wordpress.com/seminario-de-reejecucion/</a><br />
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Oskar Schlemmer Drawings:
<a href="http://triadicos.wordpress.com/bocetos-2/">http://triadicos.wordpress.com/bocetos-2/</a><br />
Useful links and resources
<a href="http://www.thecityreview.com/bauhaus.html">http://www.thecityreview.com/bauhaus.html</a>
<a href="http://www.moma.org/interactives/exhibitions/2009/bauhaus/Main.html#">http://www.moma.org/interactives/exhibitions/2009/bauhaus/Main.html#</a></div>
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<br />Maura McDonnellhttp://www.blogger.com/profile/08621622002226523143noreply@blogger.com0tag:blogger.com,1999:blog-1819382936977636058.post-52689496074570171422012-01-22T19:59:00.001+00:002012-01-22T23:55:14.105+00:00Reading Noël Burch Theory of Film Practice - Ch 6Reading Noël Burch Theory of Film Practice - Ch 6<br />
On the Structural Use of Sound<br />
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<tr><td class="tr-caption" style="text-align: center;">screengrab from <span style="background-color: white; font-size: small; text-align: -webkit-auto;">Mizoguchi's </span><i style="background-color: white; font-size: medium; text-align: -webkit-auto;">The Crucified Lovers</i> </td></tr>
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Robert Bresson - on his own film practice said,<br />
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"sound, because of its greater realism, is infinitely more evocative than an image, which is essentially only a stylization of visual reality. "A sound always evokes an image; an image never evokes a sound...that he replaces an image with a sound whenever possible, thus remaining completely faithful to the principle of maximum bareness and spareness underlying his creative method." (p90)<br />
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<b>Gregory <span style="background-color: white;">Markopoulos</span> - Twice a Man</b><br />
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<b>Gregory </b><span style="background-color: white;"><b>Markopoulos</b></span><b> - Sorrows</b><br />
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<b><span style="background-color: white;">Agnes Varda's </span><i style="background-color: white;">La Pointe course </i></b><br />
Part 1<br />
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<b><span style="background-color: white;">Orson Welles in his </span><i style="background-color: white;">Othello </i>(1952) </b><br />
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- Part 1<br />
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<b><span style="background-color: white; text-align: -webkit-auto;">Mizoguchi's </span><i style="background-color: white; text-align: -webkit-auto;">The Crucified Lovers</i></b></div>
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Part 7/7</div>
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<span style="background-color: white; text-align: -webkit-auto;">Mizoguchi's </span><i style="background-color: white; text-align: -webkit-auto;">The Crucified Lovers</i></div>
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LINK
<a href="http://isites.harvard.edu/fs/docs/icb.topic235120.files/TFP/6Sound.html">http://isites.harvard.edu/fs/docs/icb.topic235120.files/TFP/6Sound.html</a></div>
</div>Maura McDonnellhttp://www.blogger.com/profile/08621622002226523143noreply@blogger.com0tag:blogger.com,1999:blog-1819382936977636058.post-53187526473060182612012-01-21T22:32:00.002+00:002012-01-22T23:08:51.536+00:00Reading Noël Burch Theory of Film Practice - Ch 4Noël Burch Theory of Film Practice - Ch 4 - The Repertory of Simple Structures<br />
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<b>EXAMPLES</b></div>
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<b>Alain Resnais - Marienbad (1961)</b><br />
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Partial Opening scene excerpt with english subtitles</div>
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Full film youtube link:<a href="http://youtu.be/EedcRkaI0gA" target="_blank"> http://youtu.be/EedcRkaI0gA</a></div>
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See also information at criterion collection - also short excerpt</div>
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<a href="http://www.criterion.com/films/1517-last-year-at-marienbad">http://www.criterion.com/films/1517-last-year-at-marienbad</a></div>
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Filmmakers listed</div>
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L'Herbier, Gregory Markopoulos, Eisenstein, Romm - Boule de suif, Germaine Duluc, Jean Epstein, Abel Gance, Marcel L'Herbier</div>
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<b>L'Herbier - El Dorado</b></div>
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sharp focus v soft focus</div>
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Eisenstein, Dovzhenko, Romm, Boris Barnett</div>
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<b>Yasujiro Ozu - The Only Son</b></div>
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Excerpt</div>
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see also: <a href="http://www.a2pcinema.com/ozu-san/films/onlyson.htm">http://www.a2pcinema.com/ozu-san/films/onlyson.htm</a></div>
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Excerpt</div>
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<b>Alain Resnais - Hiroshima mon amour (1959)</b></div>
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<b>Georges Melies - Le voyage dans la lune (1902)</b> </div>
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- hand coloured</div>
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<b>Le papillon fantastique (1909) - Georges Méliès</b></div>
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<b>Abel Gance Napolean</b></div>
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Excerpts with commentary</div>
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Three screen excerpt youtube</div>
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<b>Resnais - Night and Fog</b></div>
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Part 1/3 excerpt</div>
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Part 2/3: <a href="http://youtu.be/yqWuLDyiikc">http://youtu.be/yqWuLDyiikc</a><br />
Part 3/3: <a href="http://youtu.be/AaaQ0TlFy5Q">http://youtu.be/AaaQ0TlFy5Q</a><br />
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<span style="text-align: left;">Monique Lepeuve - Exemple Etretat</span><br />
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<b>Kurosawa - High and Low</b></div>
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critics pick New York times commentary</div>
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<b>Jean Luc Godard's - Deux ou trois choses que je sais d'elle</b></div>
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Coffee Scene</div>
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criterion collection link: <a href="http://www.criterion.com/films/1333-2-or-3-things-i-know-about-her">http://www.criterion.com/films/1333-2-or-3-things-i-know-about-her</a></div>
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Dovzhenko, Jean-Pierre Melville, Bresson</div>
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Stan Brakhage - Reflections on Black</div>
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Bruce Conner - A Movie</div>
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Ken Jacobs - Blond Cobra</div>
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<b>Dziga Vertov - Man with the Movie Camera</b></div>
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Extract with music soundtrack by Michael Nyman</div>
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<b>Dziga Vertov - Man with the Movie Camera</b></div>
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Full version with cinematic orchestra soundtrack</div>
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<b>Chris Marker - La Jetée</b></div>
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Part 1 - Excerpt - English Narrator</div>
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Part 2 - link: <a href="http://youtu.be/njRTKmer-a0">http://youtu.be/njRTKmer-a0</a></div>
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<b>François Truffaut - Jules and Jim</b></div>
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Part 1</div>
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Criterion collection link: <a href="http://www.criterion.com/films/218-jules-and-jim">http://www.criterion.com/films/218-jules-and-jim</a></div>
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11 parts on playlist at: <a href="http://www.youtube.com/playlist?list=PL46021C7277A2368E&feature=plcp">http://www.youtube.com/playlist?list=PL46021C7277A2368E&feature=plcp</a></div>
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<b>Emile Cohl</b></div>
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<b>Karl Zeman - The Fabulous World of Jules Verne</b></div>
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Part 1</div>
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<b>Andre S Labarthe = Cineastes de notre temps series</b></div>
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Part 1</div>
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<b>Jean-Luc Godard -<span style="background-color: #ebebeb; color: #333333; font-family: arial, sans-serif; font-size: 13px; line-height: 18px;"> </span>Une Femme mariee</b></div>
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Excerpt</div>
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<b>Goddard - Pierrot le fou</b></div>
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Part 1/10</div>
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Playlist: <a href="http://www.youtube.com/watch?v=uksEgP_1RmU&list=PLD78AB01E70AABD40">http://www.youtube.com/watch?v=uksEgP_1RmU&list=PLD78AB01E70AABD40</a></div>
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<b>Agnes Varda - Opera Mouffe</b></div>
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Part 1</div>
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/zJjxTydfJSk?feature=player_embedded' frameborder='0'></iframe><br />
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<b>Vilgot Sjoman I am Curious (Yellow)</b></div>
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Trailer</div>
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<b>William Klein Float Like a Butterfly, Sting Like a Bee</b></div>
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<b>Joseph Sternberg - The Salvation Hunters</b></div>
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<b>Marcel Carné <span style="text-align: left;">- Le Jour se leve</span></b><br />
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<b>Jean-Marie Straub - Nicht Versohnt</b></div>
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<b>Robert Bresson - Diary of a Country Priest</b></div>
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<b>Robert Bresson - The Trial of Joan of Arc</b></div>
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<b>Renoir - Diary of a Chambermaid</b></div>
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<b>Jean Renoir - La Regle du jeu</b></div>
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<b>Jacques Tati - <span style="text-align: left;">Mr Hulots Holiday</span></b></div>
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<b>Jean Vigo - Zero de conduite</b></div>
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<b>Joseph van Sternberg - The Blue Angel</b></div>
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link to full film: <a href="http://youtu.be/6TKFTkREASU" target="_blank">http://youtu.be/6TKFTkREASU </a></div>
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<b>Kon Ichikawa - The Actor's Revenge</b></div>
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<b>Alain Robbe-Grillet - Trans-Europe-Express</b></div>
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<br /><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/cya8peNqPxw?feature=player_embedded' frameborder='0'></iframe></div>
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Georges Bataille - Bleu du ciel</div>
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LINK: <a href="http://isites.harvard.edu/fs/docs/icb.topic235120.files/TFP/4Repertory.html">http://isites.harvard.edu/fs/docs/icb.topic235120.files/TFP/4Repertory.html</a><br />
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<br /></div>Maura McDonnellhttp://www.blogger.com/profile/08621622002226523143noreply@blogger.com0tag:blogger.com,1999:blog-1819382936977636058.post-82949202856369800632012-01-18T22:17:00.000+00:002012-02-12T13:35:58.555+00:00Reading Noël Burch Theory of Film Practice - Ch 3<b style="text-align: -webkit-auto;">Chapter 3 - Editing as a Plastic Art</b>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvSLadpEvDZg1epWfPlmCF9plz1kZ4BN9BiUYonoLdIkMF4haEaD5R0f3OAZ_5eS7WcTCFILIKQikwvJauybl9k3JTbQo9YVx80ibS_1hiOhbhjtJMI7ua6kGWaJVFgLAiSofp6qla3YU/s1600/Picture+4.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="282" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvSLadpEvDZg1epWfPlmCF9plz1kZ4BN9BiUYonoLdIkMF4haEaD5R0f3OAZ_5eS7WcTCFILIKQikwvJauybl9k3JTbQo9YVx80ibS_1hiOhbhjtJMI7ua6kGWaJVFgLAiSofp6qla3YU/s400/Picture+4.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Screen Grab from Eisenstein's The General Line</td></tr>
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<b><br /></b><br />
<b>Films and filmmakers dicussed in chapter 3</b><br />
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S<b>ergei Eisenstein - <i style="background-color: white;">The Battleship Potemkin - </i><span style="background-color: white;">Odessa Steps sequence</span></b><br />
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<span style="background-color: white;"><b>Sergei Eisenstein - </b></span><i style="background-color: white;"><b>The General Line</b> - </i><span style="background-color: white;">Religious Procession scene</span><br />
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<b><span style="background-color: white;">Sergei Eisenstein - </span><span style="background-color: white;"> </span><i style="background-color: white;">Ivan the Terrible </i></b><br />
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<b>Cubism Artist: <span style="background-color: white;">Juan Gris</span></b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgi-fwCdkR3_7BFwooy7LQOFQ0y1KJhn_Z0jYizJYgYsPLxdyzLZZXW8xhI606XM1NRLPRF7n-_i20JHbFSZipweXGvTeOTRDmBKLeK3X5I56qr-eEG5ehQN3F0udrN9znD8LkASAjX5Ck/s1600/still_life_with_violin_and_glass.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgi-fwCdkR3_7BFwooy7LQOFQ0y1KJhn_Z0jYizJYgYsPLxdyzLZZXW8xhI606XM1NRLPRF7n-_i20JHbFSZipweXGvTeOTRDmBKLeK3X5I56qr-eEG5ehQN3F0udrN9znD8LkASAjX5Ck/s320/still_life_with_violin_and_glass.jpg" width="209" /></a></div>
<span style="background-color: white;"><br /></span><br />
<b><span style="background-color: white;">Godard's </span><i style="background-color: white;">Breathless</i></b><br />
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<b><span style="background-color: white;">Rouben Mamoulia </span><i style="background-color: white;">Applause </i><span style="background-color: white;">(1929)</span></b><br />
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<b><span style="background-color: white;">Bresson </span><i style="background-color: white;">Pickpocket </i></b><br />
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<b><span style="background-color: white;">Antonioni</span><span style="background-color: white;"> </span><i style="background-color: white;">La Notte</i></b><br />
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<span style="background-color: white;">Orson Welles </span><i style="background-color: white;">Othello</i><br />
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<b style="background-color: white;">Filmmakers references: </b><br />
<span style="background-color: white;"><br /></span><br />
<span style="background-color: white;">Sam Fuller's films, </span><span style="background-color: white;">Abel Gance, </span><span style="background-color: white;">Germaine Dulac, </span><span style="background-color: white;">Jean Epstein, </span><span style="background-color: white;">Marcel L'Herbie, </span><span style="background-color: white;">Godard, </span><span style="background-color: white;">Resnais, </span><br />
<span style="background-color: white;">Hanoun, </span><span style="background-color: white;">Juan-Antonio Bardem</span><br />
<span style="background-color: white;"><br /></span><br />
<span style="background-color: white;"><b>Michael Cacovannis</b></span><br />
Woman in Black, 1956, by Michael Cacoyannis<br />
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<b>VIDEOS AND EXCERPTS ONLINE</b><br />
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<b><span style="background-color: white;">Akira Kurosawa </span><i style="background-color: white;">High and Low </i><span style="background-color: white;">(1963) - Excerpt</span></b><br />
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<b><span style="background-color: white;">Mikhail Romm </span><i style="background-color: white;">Boule de suif </i><span style="background-color: white;">(1934) - Excerpt</span></b><br />
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<embed src="http://www.youtube.com/v/1j9WAbRmqH8?version=3&hl=en_US" type="application/x-shockwave-flash" width="480" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object>
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<br />
LINK<br />
<a href="http://isites.harvard.edu/fs/docs/icb.topic235120.files/TFP/3Editing%20as%20Plastic.html" target="_blank">http://isites.harvard.edu/fs/docs/icb.topic235120.files/TFP/3Editing%20as%20Plastic.html </a>Maura McDonnellhttp://www.blogger.com/profile/08621622002226523143noreply@blogger.com0tag:blogger.com,1999:blog-1819382936977636058.post-19794855701920224162012-01-18T13:51:00.000+00:002012-01-18T13:51:27.667+00:00Peter Kogler - Installation - ViennaSchirn Kunsthalle, Frankfurt, 2010<br />
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View video excerpt on his website at:<br />
<a href="http://www.kogler.net/index.php?key=186&childkey=669">http://www.kogler.net/index.php?key=186&childkey=669</a><br />
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"<span style="background-color: #ebebeb; color: #333333; font-family: arial, sans-serif; font-size: 13px; line-height: 18px; text-align: left;">Kogler's oeuvre is dominated by the increasing virtualization of our living space. His main motif is the ant, with its symmetrical ornamental body in its organized labyrinth-living."</span><br />
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<b> Youtube embed of Schirn Kunsthalle</b><br />
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"The Austrian multimedia artist Peter Kogler is a pioneer computer-generated art. With an impressive 360-degree multi-projection of the two-time documenta participant in the Schirn creates an illusionistic space by 12 projectors who commandeers the viewer completely. Lines of a uniform grid lose their fixed coordinates and stretch out into a play of amor-pher figures. All elements are projected in a per-manent transformation of their specific structure and bring the room to vibrate visually. In the vibration of the room sound mix elements of sound artist Franz Pomassl. The sound produced by home-made devices and instruments for the measurement technology and other research fields, in Kogler's installation into a sculptural experience. The viewer imagines himself surrounded by a super-structure, the space in which he stands, in its present form by systematically dissolves impulses: he loses the ground under your feet"<br />
source: youtube text above translated from german to english via google translate!<br />
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View really interesting visitor video in exhibition space at MUTOK, Vienna<br />
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Image from Peter Kogler website of project<br />
<a href="http://www.kogler.net/index.php?key=186&childkey=668">http://www.kogler.net/index.php?key=186&childkey=668</a><br />
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<br />Maura McDonnellhttp://www.blogger.com/profile/08621622002226523143noreply@blogger.com0tag:blogger.com,1999:blog-1819382936977636058.post-2434750348166100042012-01-17T11:03:00.001+00:002012-01-17T11:03:54.428+00:00Rod Maclachlan - AftertimeRod Maclachlan - live visuals for music performance<br />
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stunning, dramatic visuals<br />
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<a href="http://www.blogger.com/33337157">Aftertime ~ Roly Porter with Cynthia Miller. Visuals by Rod Maclachlan. Live at Faster Than Sound</a> from <a href="http://www.blogger.com/user2558216">Rod Maclachlan</a> on <a href="http://www.blogger.com/">Vimeo</a>.<br />
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"A edited excerpt from a live performance of Aftertime the debut album from Roly Porter (Vex'd) featuring Cynthia Miller on Ondes Martenot. Filmed at The Britten Studio, Snape Maltings as part of Faster Than Sound, 29/10/11.
Visuals conjured live by Rod Maclachlan using cameras focused on plants, smoke, rotating coal along with sound reactive dust shaker and dark water contraptions. Video feedback created using video mixers."<br />vimeo description: <a href="http://vimeo.com/33337157">http://vimeo.com/33337157</a><br />
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<br />Maura McDonnellhttp://www.blogger.com/profile/08621622002226523143noreply@blogger.com0