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Scott Pagano (Neither Field) 

is a Los Angeles-based video artist, filmmaker, and motion graphics designer and is recognized for his distinctive style of moving images constructed by re-mixing images of architecture, daily life, and intricate CG graphics.

As filmmaker, motion designer, and spatial reconstructionist, Scott Pagano creates moving image content utilizing shards of architecture, disfunction, and futurism. With influences ranging from minimal painting to cinema, his work offers a re-envisioned perspective on the graphic stratas that saturate our visual perception. His meticulously constructed abstract artworks push the boundaries of audio-visual composition and process using a dynamic mix of cinematographic and synthetic imagery.

 

Source: Scott Pagano's website

 

 

Pagano studied photography and graphic design at RISD and is a graduate of Brown University where he studied Modern Culture and Media.

Pagano's music videos and motion art works have been screened internationally in venues ranging from film festivals to MTV. He has worked with a wide range of notable musicians including BT, Funkstörung, Twerk, Richard Devine, Christopher Willits, Monolake, Deadbeat, Speedy J, Chris Liebing, Kid606, Joan Jeanrenaud, and the Kronos Quartet.

Pagano is the co-curator of RELINE, a series of DVD releases featuring experimental video art. Reline1 was released in 2003 on Form001 and Reline2 was released on September 29, 2006, on Microcinema's Blackchair label.

 

Source: Wikipedia

 

 

Scott Pagano (Neither Field), editing, design

Reading

Audio-Vision: Sound on Screen (1994) by French critic and composer Michel Chion reassesses audiovisual media since the revolutionary 1927 debut of recorded sound in cinema, shedding crucial light on the mutual relationship between sound and image in audiovisual perception. (Colombia University Press)

Rewind, Play, Fast Forward (2010) – The Past, Present and Future of the Music Video by Henry Keazor, Thorsten Wübbena (eds.) brings together different disciplines as well as journalists, museum curators and gallery owners in order to take a discussion of the past and present of the music video as an opportunity to reflect upon suited methodological approaches to this genre and to allow a glimpse into its future. (transcript Verlag)

Sonic Graphics/Seeing Sound (2000) by Matt Woolman presents exemplary work from studios around the world in three sections: Notation analyses the use of sign and symbol systems in creating identity and branding for music artists, recording projects and performances; Material considers how products can package the intrinsic nature of the music they contain; and Atmosphere looks at how space and multidimensional environmeaants can be used to visualize sound. A reference section includes studio websites and a glossary. (Thames & Hudson)

Links

 

SEE ALSO

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VJing (2010) is a reproduction of the Wikipedia article VJing, based upon the revision of July 25th 2010 and was produced as a physical outcome of the wiki-sprint, a collaborative writing workshop that was held 2010 in the frame of Mapping Festival, Geneva. (Greyscale Press)

Arthur Lipsett (1936-1986) was a Canadian avant-garde director of short collage films. Arthur Lipsett's meticulous editing and combination of audio and visual montage was both groundbreaking and influential. (Wikipedia)

Michael Fakesch: Crest (2008) - Visual Kitchen's contribution to Michael Fakesch's vidos project. It is one of five angles they have made for the relatively short track Crest. The DVD, selfpublished in collaboration with fluctuating images. (Visual Kitchen on Vimeo)

Eye 76 (2010) is Eye's first-ever special issue on the dynamic and continually inspiring sector of design for music. Designers are in a privileged position to add visual drama to music; to make it more understandable and enjoyable; to communicate the intangible essence of vibrating air molecules into the worlds of words, images and moving graphics. Design can make music look good, but when they really work together you have magic. (Eye magazine)