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2005 →Live search( total items: 15 )
microscope session DVD 2.0 – new cooperations in sound and visualsThe Trans-Media-Akademie Hellerau in cooperation with DS-X.org is the organiser of a series of events entitled 'microscope session'. With the Festspielhaus Hellerau as its venue the 'microscope session' experiments with forms of synaesthetic perception in audio-visual presentations. It serves the contemporary desire for synaesthetic perception. The result of four years work is now compiled in the storage device of a DVD. All those who participated in the events so far were invited to contribute a clip to the DVD. It is a dream dreamt for a long time – and not only by artists – to be able to see sounds as images and hear images as sounds. The 'alchemists of the electronic arts' or the 'modellers of the audio-visionary' are the creative and cultural forerunners who develop media in order to work with them artistically. Since the real experience of audio-visual concerts cannot be reproduced when using the medium of a DVD, a collection of most diverse approaches and aesthetics emerged from the connection of sound and visual material. Thus, the works at hand generally presuppose their reception via monitor and PA. In fact, they are audio-visual psychotechniques for the solitary or shared use in the couch environment of a common living room, in the chill out section or, when travelling, on the laptop. They are exclusive works by authors whose backgrounds range from professional art work and graphic design to spare time handicrafts. As such, the pieces represent the state of the art of a screen-oriented audio-visual culture. The interfaces of club and museum, party and work of art, aesthetics and economy, science and life are the contexts in which VJs act. The examples [OSZO 1]TM by Ritchie Riediger or the video processing HUMAsystem by HUMATIC (applied in PERSON’s Person In Mekanik Wunderland) show how today’s technical innovations may be placed both in the field of art and in the market of entertainment industry. The 'electronic alchemist' thus works in the zone in between artistic approach and commercial interest.  Daisshuke Ishida, Kloma: the vascular system of, if you are still alive  Enzym, Tobias Peier: abschnittsbevollmächtigter ![Mille and Mr. Hirsch, Ritchie Riediger: [oszo 1]tm](http://videomedeja.org/sites/videomedeja/files/img/mille_mr_hirsch_r_riediger_oszo_1.jpg) Mille and Mr. Hirsch, Ritchie Riediger: [oszo 1]tm  Vokoi Kazunowski: frozen wadi-ram Marvelous, Keen Loony Bin L. Akana: Marvelous, Keen Loony Bin A day in the life of the headless, limbless, Identity (maria) A. A. Errecalde: Identity (maria) Jorge Rodriguez - Gerada transforms common people into icons by rendering them in charcoal as urban murals. He delves into the identity of the neighborhood where he realizes his work as well as in his own identity. By questioning the controls imposed on public space, the role models that represent us in the public space and the type of events that are guarded by the collective memory, he breaks away with preconceptions of where art is permitted, when art is needed and to whom it is directed. Five Infomercials for Dentists S. Baumane: Five Infomercials for Den... Five bizarre infomercials introduce dentists to the substantial products of their trade: Latex gloves, anesthesia, dental tools, crowns and chocolate. The Instructional Guide to Dating S. Bowers: The Instructional Guide to... There are many hazards to avoid in the airport of love. How do you choose a co-pilot to take on your journey? Baghdad Disco Baghdad Disco Leaders for news programmes, advertisements, video clips and games all make use of the same visuals to style and animate their messages. While we zap from one TV station to another, the globes, cartoon characters, logos and three-dimensional letters tumble across the screen to accentuate the information they represent. Arno Coenen has moulded his Baghdad Disco into precisely this form of smooth and shiny icons that do not seem to be bothered by gravity. It starts with giant headlines such as ‘Breaking news’, that make room for an upbeat story in which golden Uzis, the Berlin bear, dancing Lego figures in veils and arabicized electro pop play a major role. The way in which these icons – or actually the things they refer to – relate to each other in real life is strained, to say the least. But despite the announcement of an ‘explosive situation’ when one of the Lego men blows himself up, they seem to get along quite well in the chaos of the Baghdad Disco. Like Lynch P. Damjanović: Like Lynch As an author, I feel an uncanny affinity to David Lynch. I featured everyday situations, streets, walkways, buildings, the house where I live, in a way I would describe as 'Lynch-like outlook'. I believe that Lynch personified the spirit and powers of the psyche through his characters, evoked at the end of the film. I was inspired by a different point of view- disguised, invisible, mysterious in the mundane and 'familiar'. The elevator J. B. Delannoy: The Elevator A short, 12 minute film, following (mis)adventures of a team of cameramen, looking for some 'peace and quiet' in a Polish lift. The Boy In The Air Lyn Elliot: The Boy In The Air An enigmatic advertisement inspires a letter. The corporation writes back. Looking for AlfredSpecial MentionSpecial mention was Looking for Alfred by Johan Grimonprez from Belgium. This work has dreamlike, almost surreal choreography and is cinematographically and poetically profound. (Mileta Poštić on behalf of Jury)  Johan Grimonprez: Looking for Alfred Together with Daragh Reeves, media artist Johan Grimonprez conceived the idea of casting Hitchcock look-a-likes, reminiscing Hitchcock's many cameo performances in his own films, such as that of the man who only just catches the bus in North by Northwest. For a moment you see a fat man with a bowler hat, an umbrella and two small dogs, and then you see it: it is Hitchcock himself! Collision Max Hattler: Collision Islamic patterns and American quilts and the colours and geometry of flags as an abstract field of reflection. Ligne Verte L. Mareschal: Ligne Verte At first sight you see a wall-painting and hear sounds of building engines far away but still present. This fresco represents a kind of Mediterranean landscape. Then you slowly discover the painting and its principal characters: the cactus, the Cyprus tree and the olive tree. At the end, the camera stays still. You didn’t really pay attention, but some small stones fell on the ground at a moment; now you’ll discover that a branch of the olive tree was guilty. It grew up inside the wall. And now it’s the whole painting that turn to life. The rebels destroy the 'security fence' and a whole of it fell apart on the ground. You should be optimistic if the last travelling wouldn’t ruin this hope… The Intruder Vincent Meessen: The Intruder Ouagadougou, Burkina Faso. Meessens' 'document brut' records his actions in the busy streets of the African capital with a candid camera. Dressed and masked in a cotton tuft costume he silently moves between the crowds. The reactions soon follow: the white man as a strange, primitive apparition is faced with indifference, mockery and amazement. His use of Burkinabese 'white gold' as a garment turns the public space into a magnetic field, charged with poetry based on unspoken symbolical, political and economic meanings. N12°13.062'/ W 001°32.619' Extended V. Meessen: N12°13.062'/ W 001°32.619' The title of this video is a reference, through GPS coordinates, to a specific location in Africa, which is abstract at the same time. Two men wander through a deserted site in the middle of the desert, at first sight it's an archaeological ruin. As the images reveal more of the environment, it becomes clear that the construction was built by the twosome, hewn from the surrounding stone. It's like a denial of any conventional view of a city. To Meessen this residual space reflects an inverted image of a planned, urban surrounding. |
