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Zeitguised 

(founded in 2001) is based in London and the brainchild of American sculpture/ fashion grad Jamie Raap and German engineering/ architecture obsessive Henrik Mauler.

Zeitguised's high gloss art school 3D punk blends complex geometries, surreal objects, artificial behaviors and the recycling of digital readymades into their distinct hallucinatory narration style.

 

Toyota, Verizon, Mercedes, MTV, and Vodafone have engaged Zeitguised to create unique CG universes with their own rules and aesthetics. Recently, Zeitguised pushed the limits and understanding of what is CG as an art form when they created the short 'Peripetics', a piece that alters the perception of gallery installations by suspending the rules of cg and fine art at the same time.

 

Zeitguised most welcomes the challenge of deconstructing conventional narratives and then rebuilding them into unstable structures of color, shape and spatial motion, in order to establish new, artificial narratives where the surface is the content, color and form and motion itself are the protagonists. Their work constantly goes perpendicular to mainstream expectations.

 

Source: paranoid

 

 

Please tell us about the founding of Zeitguised.

We founded Zeitguised in early 2001, as an effort to channel our common and disparate interests (art, architecture, sculpture, fashion, design) into a field that could explore each of them and test the boundaries of what these areas meant to us.

  

How has Zeitguised progressed since completion of its first project?

Initially, we started out doing short independent films, installation projects, music clips to test the waters. We didn't have clear intentions, we sort of meandered through the terrain that came up in front of us. We started on some commercial work in 2003, but we probably were too resilient and always had that independent itch. In 2006 we started to do this kind of work for a living and have since, without cutting out time for experimental work.

 

Source: Ventilate

 

 

Zeitguised, architecture, punk, london, design

Reading

VJ: Audio-Visual Art + VJ Culture (2006) edited by D-Fuse. A major change has taken place at dance clubs worldwide: the advent of the VJ. Once the term denoted the presenter who introduced music videos on MTV, but now it defines an artist who creates and mixes video, live and in sync to music, whether at dance clubs and raves or art galleries and festivals. This book is an in-depth look at the artists at the forefront of this dynamic audio-visual experience. (Laurence King Publishing)

Links

 

SEE ALSO

Petard (2003-2008) is Depart's 'synapsisyntactical dewelloperawe', an audio-visual live performance for synced fragmented audio and video, mostly improvised live. This is a short capture of a Petard audio-visual live performance at Cimatics in Brussels, Belgium using Pure Data's Gem and Native Instrument's Reaktor. (Depart)

Carsten Nicolai (*1965) is part of an artist generation who works intensively in the transitional area between art and science. As a visual artist Carsten Nicolai seeks to overcome the separation of the sensual perceptions of man by making scientific phenomenons like sound and light frequencies perceivable for both eyes and ears. His installations have a minimalistic aesthetic that by its elegance and consistency is highly intriguing. (raster-noton)

Visual Kitchen explores the semantics of live AV performance and video art from a background of VJ’ing and music video production. As designers of moving images, VK adapts any kind of (non-)narrative structure into dazzling trips of visual flux, combining rigorously structured loops with soft- or hardware-generated chaos. The output is very diverse and versatile, from analogue photographic to digital minimalism, exploring the parameters of the canvas. (Visual Kitchen)

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)

Resonance (2011) is a collaborative project with over 30 independent visual and audio designers and studios. The aim was to explore the relationship between geometry and audio in unique ways. Animators and Audio Designers were paired up at the beginning of the project and were given the guidelines to create a piece between 12 and 20 seconds and in HD quality, the rest was up to them. (Resonance website)