Visual Music Archive

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LT24 

(2010) 

is an experimental movie directed by Lucio Arese with Ametsub soundtrack, bringing an original technique that links images and music together through simulated timelapse.

The film depicts a 24 hours day (from 0 AM to 0 AM) compressed into 2 minutes 24 seconds (600x) where a group of construction workers builds a steel structure placed into a square arena.

The environment has an atmospheric system based on real solar azimuth and elevation data, corresponding to the geographic location of Turin at the 21st of June 2010 (summer solstice, longest day available in the year).

 

A 24 hour portion of reality is accelerated at whirling speed remaining organized into the guidelines of a musical structure; at the same time, a 2 minutes 24 seconds piece of music is projected into a 24 hour timespan, synchronizing and shaping every significative event – even the movement of every single worker is related to the music. This process creates a bidirectional relationship between music and motion picture, linking them into an imaginary dimension where the flow of visual and audio events is totally bounded together: this could be called structured timelapse.

 

Architect, pianist, composer and graphic designer, Lucio Arese started a career as a videographer and independent filmmaker in 2008. In his first works he's exploring the possibilities given by the union of images, motion and music in a thoughtful and personal way. He's born in 1981 and currently based in Cuneo, Italy.

 

Source: Lucio Arese on Vimeo

 

Read full description here.

 

 

LT24, architecture, nature, Video Art

Reading

Sons et Lumières (2004) – A History of Sound in the Art of the 20th Century (in French) by Marcella Lista and Sophie Duplaix published by the Centre Pompidou for the excellent Paris exhibition in September 2004 until January 2005.


Curated by the Pompidou’s Sophie Duplaix with the Louvre’s Marcella Lista, the show required a good three or four hours to absorb, with its bombardment of sensory and intellectual input, including painting, sound sculpture, sound/light automata, film and video, and room-size installations. (Frieze Magazine)

Notation. Calculation and Form in the Arts (2008) is a comprehensive catalogue (in German) edited by Dieter Appelt, Hubertus von Amelunxen and Peter Weibel which accompanied an exhibition of the same name at the Academy of the Arts, Berlin and the ZKM | Karlsruhe. (ZKM)

Links

 

SEE ALSO

Lichtfront is an design collective based in Cologne, Germany. They have a singular pursuit, and that is to interpret sounds directly through images. This no-bars approach makes it possible to perform live sets and for the VJs to directly react to the rhythm and the feel of the music. The form of the sets corresponds to the handwriting style of each Lichtfront VJ. Therefore there's the incentive, as the set itself demonstrates, to produce for each night a unforgetable visual clip. (bitfilm)

NAS (2010) by Turkish drummer, producer and visual artist Volkan Ergen. (Vimeo)

Combustion (2011) by Montreal-based designer Renaud Hallee plunges the viewer, from each image and note to the next, closer and closer to its materials as they catch fire and culminate in an explosion of colours and sounds. Carried along by a scorching musical score, Combustion is a brisk and novel look at fire, a source of fascination for everyone everywhere since the beginning of time. (SXSW)

PMP is an audio-visual collective based in Singapore that focuses on the synaesthetic experience where sound and visuals interact in real time, steering away from the notion that audio and visuals are often the by-products of one another. Started in 2009 by Ivan, Felix and Bin, PMP’s music takes the form of minimal electronic music that fuses microsound, glitches and the sound of acoustic instruments. Visually, it is highly distinctive with generative visuals that reacts or controlled in real time. (PMP)

Rheo (2009) by Ryoichi Kurokawa is a new form of audiovisual expression inspired by the constant flux of landscapes. Ryoichi Kurokawa tends to eliminate the boundaries of our physical perception. A minimal, yet chaotic conflux of visual and auditory perception merges into an experience of memory and ambiguity, where virtual and actual images are no longer distinguishable. (Cimatics)