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Basement Jaxx: Where's Your Head At 

(2009) 

by Max Hattler is the film festival version of a commission for British dance duo Basement Jaxx. During their concerts, the film is shown on a 7x2 meter LED screen behind the band.

The concept of the film is based on the grid structure of the screen itself. The LED screen is made up of 60 square panels, four rows of 15. Each of the blocks that make up the screen becomes a tile in the overall picture, a pixel in the construction of the visual narrative.

 

Source: Max Hattler

 

 

... an arena abstraction for Basement Jaxx ... Old school video games and '80s video walls inspired Max Hattler's visuals for Where's Your Head At... Rather than treat the display as one fluid screen, he took advantage of the grid's '80s video wall look and designed flat, two-dimensional visuals that resemble old school video games such as Tetris.

Source: 'boards

 

 

Basement Jaxx: Where's Your Head At, vierecke, multi projection, pixelig, Live Visuals

Reading

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)

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)

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)

Links

 

SEE ALSO

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. 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)

Daniel Franke (*1982) works as an artist, designer and music video director in Berlin. His works challenge the restrictions of conventional spatial frameworks and -concepts: digital simulations should no longer be limited to an on-screen-display; instead the digital might be imagined as transferable into real space and thus extend perceptions of the real. Ultimately digital spaces should leave the realm of the virtual and enter the tactile. (Daniel Franke)

Simple Harmonic Motion study #5d (2011) by Mehmet Akten is an ongoing research and series of projects exploring the nature of complex patterns created from the interaction of multilayered rhythms. This version was designed for and shown at Ron Arads Curtain Call at the Roundhouse. This ultra wide video is mapped around the 18m wide, 8m tall cylindrical display made from 5,600 silicon rods, allowing the audience to view from inside and outside. (Mehmet Akten)

Franc Aleu (1966) is a visual artist resident in Girona, Spain specialized in video for opera-theatre and special events. He is the director of URANO, production company in Barcelona and a frequent colaborator of the theater group La Fura dels Baus. (Franc Aleu on Vimeo)

Paul Sharits (2008) edited by Yann Beauvais. Known primarily for his experimental cinema and pictorial works, Paul Sharits developed an oeuvre that evolved around two central themes: one, closely related to music and the world of abstraction, the other, within the psychological and emotional arena of the figurative. This complete monograph, drawn from a recent exhibition, explores the connections between these two practices, and in addition provides a general introduction to a remarkable body of work. Illustrated throughout, the monograph also includes several essays, texts by Paul Sharits and interviews. (les presses du réel)