Telefante 

is formed by Luis Negrón van Grieken and Juan Carlos Orozco Velásquez. They put all kinds of media, new, old, forgotten, obsolete, overused, commercial, useless, all over the table, as if we were making a transversal cut through history.

From the fictions unveiled in the middle of a scientific bourgeois show, to the ironies of our present society, to the imposed illusion of a world divided in three apparent parts. About how to use old media devices, forgotten or destined to museums and historic illustrations, neither moved for a romantic desire of yearning the old, nor in order to produce something creative and original (as it were the assignment of an advertisement agency).

 

Telefante is about connect diverse times and geographies (sometimes incompatible and conflicting) through Heterogeneous Media. It is about evade the evolutive historical line which confine us to believe that every step, every new invention, every experiment should be left back in order to adopt a new one. We put all kinds of media, new, old, forgotten, obsolete, overused, commercial, useless, all over the table, as if we were making a transversal cut through history. Simply it is about tell stories (new and old) through several media (new and old), with the aim to forget this unproductive dialectic and be able to capture the most difficult: the present. Telefante is formed by Luis Negrón van Grieken and Juan Carlos Orozco Velásquez.

 

Juan Orozco studied Cinema at the National University of Bogota, Colombia. Master at the MECAD, Barcelona. Currently doing postgraduate studies at the Academy of Media Arts Cologne. He was professor at the Bogota's national university in video-art. He is very interested in the philosophical aspects of film, video and visual arts. 

 

Luis Negron studied at the Academy of Media Arts Cologne, Media Centre d’Art and Disenny Barcelona and Technical University of Ilmenau. Since 2000 using electronic media in fields like theater, music and visual arts. Artistic research is based on experimentation of processes in the realization of media electronic stage design, A/V concerts and installations. Currently working in the academic staff of the field of video / interactive media & scenography at the Academy of Media Arts Cologne. 

 

Source: Telefante’s website

 

 

Telefante, paper, real time, multi projection, mystic, handmade, overhead

Reading

American Magus: Harry Smith (1996) demonstrates how differently Harry Smith appeared to friends from each circle, offering personal recollections that present a multidimensional, largely contradictory picture of the man. The films, paintings, and recordings of Harry Smith pay tribute to his genius. Filmmaking, painting, anthropology, musicology, and the occult - his knowledge of each was encyclopedic and firsthand. As might befit a man of such varied interests, his circles of friends were large and, for the most part, wholly independent. (Experimental Cinema)

Notations 21 (2009) by Theresa Sauer features illustrated musical scores from more than 100 international composers, all of whom are making amazing breakthroughs in the art of notation. Notations 21 is a celebration of innovations in musical notation, employing an appreciative aesthetic for both the aural and visual beauty of these creations. The musical scores in this edition were created by composers whose creativity could not be confined by the staff and clef of traditional western notation, but whose musical language can communicate with the contemporary audience in a uniquely powerful way. (Notations 21 Project)

 

SEE ALSO

META/DATA: A Digital Poetics (2007) by pioneering digital artist Mark Amerika mixes (and remixes) personal memoir, net art theory, fictional narrative, satirical reportage, scholarly history, and network-infused language art. META/DATA is a playful, improvisatory, multitrack digital sampling of Amerika's writing from 1993 to 2005 that tells the early history of a net art world gone wild while simultaneously constructing a parallel poetics of net art that complements Amerika's own artistic practice. (The MIT Press)

Expanded Cinema (1970) - In a brilliant and far-ranging study, Gene Youngblood traces the evolution of cinematic language to the end of fiction, drama, and realism. New technological extensions of the medium have become necessary. Thus he concentrates on the advanced image-making technologies of computer films, television experiments, laser movies, and multiple-projection environments. Outstanding works in each field are analyzed in detail. Methods of production are meticulously described, including interviews with artists and technologists. (John Coulthart)

Golan Levin (*1972) is an American new media artist, composer, performer and engineer interested in developing artifacts and events which explore supple new modes of reactive expression. Golan Levin's work focuses on the design of systems for the creation, manipulation and performance of simultaneous image and sound, as part of a more general inquiry into the formal language of interactivity, and of nonverbal communications protocols in cybernetic systems. (Golan Levin)

complex composition (2010) by Itaru Yasuda is a generative audiovisual concert piece updated every presentation. All sound and graphics are generated in real time by SuperCollider. (SuperCollider Symposium 2010)

Craig Allan (*1971) aka Numbercult from Glasgow explores comunication between abstract sound and visual worlds using realtime immersive audiovisual installations, interactive digital scultptures and live performances. He specialises in music production, sound design and real-time generative graphics for large scale media environments. Craig Allan founded the eponymous numbercult record label and has released acclaimed electronic dance music on esteemed record labels around the globe under the moniker Rei Loci. (Numbercult)