Enigmatica acts as an experimental platform for exploring new concepts in combining light, sound and space to create multi-dimensional synesthetic digital sculptures.
www.kitwebster.com.au


+ video link: Morphology from Kit Webster

Morphology tests mapping kaleidoscopic vision over a geometric sculpture. Shape tweens in this work are evenly and geometrically placed. The multiplication of these movements creates a kaleidoscope. When presented with a rhythmic sound, a slightly entrancing out-of-phase yet simultaneously synced effect is created. The work starts of with a semi-tribal element to encourage the notion of having a connection with an earthly mysterious force.

+ video link: Dataflux from Kit Webster

Dataflux investigates the possibilities of using live software codes to render synesthetic audio and visual experiences. The installation uses a software counting mechanism to step between scenes and sequences. Projections are beamed onto a motorised mirror allowing for wider displacement which is also triggered via the same system. Size and locations for the reshaping white squares are changed on every beat, allowing for the movement streams that you can see, this relocation creates an internal message that allows the software to fluidly render these changes.

Born and raised in Haiti, Val Jeanty’s percussive culture and background is the foundation of her creations. Her live Afro-Electronica Orchestration has been showcased at NYC venues such as The Whitney Museum, The Museum of Modern Art, The Public Theater and The Kitchen. She has also performed at Portland Institute of Contemporary Art as well as International performances at SaalFelden’02 in Austria, Stanser Musiktage’03 in Switzerland, and the upcoming La Biennale Di Venezia in Italy. She received a 2003 Meet The Composer Grant and a Van Lier Grant in 2000, awarded by Harvestworks Multimedia Art Center.
+ myspace.com/valincmusic

In 1996 Norwegian composer Geir Jenssen (“aka Biosphere”) was commissioned by the Tromsø International Film Festival (TIFF) to write a new soundtrack for the movie, using the director’s written instructions for the original accompanying piano player. Jenssen wrote half of the soundtrack, turning the other half to Per Martinsen (aka Mental Overdrive). It was used for the Norwegian version, “Mannen med filmkameraet”, at the 1996 TIFF. The scored movie was not available after the festival. The soundtrack was released in 2001. This edit of the film contains only the parts written by Biosphere.

Born in Tromso (Norway) 1962, Geir Jenssen is one of the most important artists in contemporary Norwegian music. If you haven’t seen the film, there’s no better time than with this Biosphere soundtrack.

Man with a Movie Camera, sometimes called The Man with the Movie Camera, The Man with a Camera, The Man With the Kinocamera, or Living Russia is an experimental 1929 silent documentary film, with no story and no actors, by Russian director Dziga Vertov, edited by his wife Elizaveta Svilova who helped with the process of deleting and adding new frames into the film. Vertov started the Kino-Pravda series, which means literally “film-truth”, meaning fragments of actuality which, when organized together, have a deeper truth that cannot be seen with the naked eye. The cinéma vérité movement of the 1960s was named after Vertov’s Kino-Pravda.

Vertov’s feature film, produced by the Ukrainian film studio VUFKU, presents urban life in Odessa and other Soviet cities. From dawn to dusk Soviet citizens are shown at work and at play, and interacting with the machinery of modern life. To the extent that it can be said to have “characters,” they are the cameraman of the title and the modern Soviet Union he discovers and presents in the film.

This film is famous for the range of cinematic techniques Vertov invents, deploys or develops, such as double exposure, fast motion, slow motion, freeze frames, jump cuts, split screens, Dutch angles, extreme close-ups, tracking shots, footage played backwards, stop motion animations and a self-reflexive style (at one point it features a split screen tracking shot; the sides have opposite Dutch angles). [wikipedia] Vertov, and this film, had a profound effect on modern documentary/movie making.

p.s. Cinematic Orchestra has also re-scored this film.

John Cage and Sun Ra performed together in 1986 at Coney Island in New York. Sun Ra begins with improvisations on the Yamaha DX7 synthesizer. John Cage performs his vocal work, Empty Words (Part IV), then each alternates performances. An interesting discourse on the performance at sputnikmusic.

John Cage Meets Sun Ra Side A + download link

John Cage Meets Sun Ra Side B + download link

J*DaVeY is a multi-genre duo from Los Angeles, CA whose sound can be described as a combination of alternative hip hop, alternative rock, soul, electronica, fusion, jazz, punk, funk, new wave, and R&B futurist.