Visual Music Archive

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3Destruct 

(2007) 

is a space of visual and sonic deconstruction by Yannick Jacquet
, Jérémie Peeters (visuals) and Thomas Vaquié (music). Half way between light sculpture and 'penetrable" the installation offers an immersive experience.

The installation offers an immersive experience in a non-linear world, where spatial coherence is lost. 3Destruct was originally designed specifically for the Biennale d’art contemporain, which took place in Louvain-la-Neuve, Belgium in 2007. It has since then been adapted to be presented in various venues.
The video on this page was filmed in Oct 2011 at Le Lieu Unique in Nantes during Scopitone Festival. The installation was redesigned for the occasion.

 

Source: Yannick Jacquet (Legoman)

 

 

A cube-like structure, lights are projected onto it in many different forms which, when you see the video below, is quite spectacular. But what’s even more amazing is that people can walk through the cube as it is being projected onto. 3Destruct challenges the persons’ perception while inside, as the lights disorients the participant walking through the semi hollow cube. Understandably so, as light and its reflection is the means for us to see, and having it manipulated has us having to re-interpret the world around us.

 

Source: whiteboard journal

 

 

3Destruct, *****, architecture, Installation

Reading

Digital Harmony (1980): On the Complementarity of Music and Visual Art – John Whitney, Sr. wanted to create a dialog between "the voices of light and tone." All of his early experiments in film and the development of sound techniques lead toward this end. He felt that music was an integral part of the visual experience; the combination had a long history in man's primitive development and was part of the essence of life. His theories On the complementarity of Music and Visual Art were explained in his book, Digital Harmony, published by McGraw-Hill in 1980. (Paradise 2012)

The Art of Projectionism (2007) by Frederick Baker (in German) sets out the principles behind his use of projectors in the film making process. He defines a projectionist school of filmmaking and media art. In this publication he also presented Ambient film, a surround experience that can be shown in specially developed cinemas. (Wikipedia)

See this Sound (2009) by Liz Kotz (Author), Cosima Rainer (Editor), Stella Rollig (Editor), Dieter Daniels (Editor), Manuela Ammer (Editor) compiles a huge number of artists, filmmakers, composers and performers, reaching back into the early twentieth century and into the present to survey overlaps between not only sound and art, sound and film, and the metaphor of cinema as rhythm or symphony. Proceeding chronologically, the book takes the early cinematic eye music of Hans Richter as a starting point, noting parallel works by Walter Ruttmann and Oskar Fischinger; moving into the postwar period, the art/cinema/ music experiments of Peter Kubelka, Valie Export and Michael Snow are discussed, establishing precedents to similar work by Rodney Graham, Carsten Nicolai, Jeremy Deller and many others. (Artbook)

Links

 

SEE ALSO

Autechre: Gantz Graf (2002) received widespread attention - perhaps more so than any previous output from Autechre; in interviews, Alex Rutterford stated that it achieved cult status in underground computer-generated imagery art circles. The video features an abstract object (or an agglomeration of objects) synchronized to the sounds in the music as it morphs, pulsates, shakes, and finally dissolves. (Wikipedia)

VJam Theory: Collective Writings on Realtime Visual Performance (2008) presents the major concerns of practitioners and theorists of realtime media under the categories of performance, performer and interactors, audiences and participators. The volume is experimental in its attempt to produce a collective theoretical text with a focus on a new criticality based on practitioner/ artist theory in which artist/ practitioners utilise theoretical models to debate their practices. (VJ Theory)

Rubber Johnny (2005) by Chris Cunningham is six minutes and ten seconds of terror that fuses the music of Aphex Twin with his own unique visual style. The titular Johnny is a mutant kid stuck in a wheelchair who is shut in the dark by his parents and amuses himself and his pet dog by shape-shifting and raving. Chris himself plays the part of Johnny and the film itself became a kind of side project that evolved out of a 30 second promo for Aphex Twin's Druqks and took several years to complete for both the shooting and the editing. (Pixelsurgeon)

Len Lye (2009) co-edited by the curator Tyler Cann and the writer, critic and poet Prof. Wystan Curnow is a tribute to one of New Zealand’s most internationally acclaimed artists is the most comprehensive visual presentation of Len Lye’s art to date.

Over 1,000 new photographs were created and hundreds of them selected for this image-rich publication, presenting the full range of Len Lye’s work, from drawings and paintings right through to his photograms and kinetic experimentations. (Govett-Brewster)

Alex Rutterford is a British director and graphic designer working mostly on music videos. He studied graphic design at the Croydon School of Art and graduated in 1991. His most well-known works include the videos for Gantz Graf by Autechre, Verbal by Amon Tobin and Go to Sleep by Radiohead. (Wikipedia)