Transmissions

(2010)

by Kasumi captures tiny revelations in small gestures and fleeting facial expressions. The 3-minute shortfilm explores their meanings, translating them into a metaphorical language synthesized from all forms of artistic expression.

People reveal themselves in small gestures and fleeting facial expressions that, no matter how deliberate, self-aware or artificial, are invested by the person performing them with an element of totally unconscious feeling. I created transmissions to capture these tiny revelations and explore their meanings, translating them into a metaphorical language synthesized from all forms of artistic expression: image, movement, music, shape, light and composition. The point is to illuminate the mysteries of human thought and behavior on their own terms – viscerally, instinctually – and to trigger viewers’ similarly unconscious feelings through their powers of perception and association.

Source: Kasumi on Vimeo

Transmissions, found footage, editing, Video Art

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‘vE-”jA: Art + Technology of Live Audio-Video (2006) by Xarene Eskander is a global snapshot of an exploding genre of tech-art performance: VJing and live audio-video. The book covers 40 international artists with 400+ colour images and 50+ movies and clips on an accompanying DVD and web downloads. (VJ Book)

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)

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)

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Kasumi is a video/sound artist whose interdisciplinary activities have included professional activities as a concert musician, exhibiting painter, published writer, theatrical designer, and film producer. Kasumi is one of the leading innovators of a new art form synthesizing film, sound and video in live performance. She has won global acclaim for her work in venues worldwide: from Lincoln Center with The New York Philharmonic to collaborations with Grandmaster Flash, DJ Spooky and Modeselektor. (Kasumi)

Soundboard (2011) by Kasumi investigates the potential for meaning that adheres in increments of physical movement: the marks it leaves through the materials of motion and sound. Using only the sound created from the dancers’ bodies as they come in contact with the floor and each other, it is a study of the human body as it marks its position in space and time, and the very intimate, organizing rhythms that musical force brings to the equation of world and self. (Kasumi)

The Drowning (2009) by Kasumi explores the impressions running through a man’s mind in the moments before his death: the sensation of time slowing down, of heightened bodily perceptions, and the simultaneous unreeling of an internal cinema of images. (Kasumi)

Ugoku (2007) by Kasumi is an experimental film/ animation hybrid, found footage and a live performance. The use of vibrant color, visual rhythm and repetition to flesh out the abrupt juxtapositions of classic montage technique. A bizarre legion of ever-evolving characters culled from hundreds of found footage sources move with heart-pounding, eye-popping precision to intense beats while kaleidoscopic arrays of colors explode like digital mescaline. This Warhol meets Escher hybrid film and animation unfolds in a surrealistic, multi-dimensional vortex that gives rock the body a new meaning. (Kasumi)

Scott Pagano creates moving image content utilizing shards of architecture, disfunction, and futurism. With influences ranging from minimal painting to cinema, his work offers a re-envisioned perspective on the graphic stratas that saturate our visual perception. His meticulously constructed abstract artworks push the boundaries of audio-visual composition and process using a dynamic mix of cinematographic and synthetic imagery. (Scott Pagano)

What makes a good party (2007) by Robert Heel vs. Binary choice (deep) is made from found footage of educational movies from the 1950s and 1960s that deal with parties and the perfect lifestyle. The video is used to sample both, sound and images to become a part of the composition of the music piece. (Robert Heel)

The Z-Axis (2003) is a multi layered live audio visual performance by The Light Surgeons that fuses classic cult cinema with electronic sound scapes mixed live by DJ and audio artist Scanone. It has been toured internationally to venues such as: The Guggenheim Art Museum in Bilbao, San Fransico Art Institute, Moderna Museet in Stockholm, and the Villette in Paris between 2003 and 2006. (The Light Surgeons)

Audio-Vision: Sound on Screen (1994) by French critic and composer Michel Chion reassesses audiovisual media since the revolutionary 1927 debut of recorded sound in cinema, shedding crucial light on the mutual relationship between sound and image in audiovisual perception. (Colombia University Press)

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