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)

 

SEE ALSO

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)

Audio.Visual - On Visual Music and Related Media (2009) by Cornelia Lund and Holger Lund (Eds.) is divided into two sections: the first deals with the academic discussion on the subject of visual music; the second introduces contemporary paradigms of audio-visual praxis in brief presentations and contextualises them. Apart from being a guide in the historical sense, this new volume provides theoretical approaches to understanding and making visual music. (Fluctuating Images)

Paul Sharits (1943-1993) is widely known for his structural films, the use of multiple projectors, infinite film loops, experimental soundtracks, and interventions at the level of the filmstrip in order to realize his elemental mode of cinematic presentation. Trained initially as a painter, and a prolific theoretical writer, Paul Sharits' art-making was in fact wide-ranging, evidenced by his early involvement with Fluxus artists in New York. His many works on paper — from diagrams to abstract film scores, fashion drawings, and hallucinogenic illustrations — have yet to be fully integrated into his better-known body of work. (paulsharits.com)

Hy Hirsh (1911-1960) was born in Philadelphia. He lived in Los Angeles between 1916 and 1937, and began working with still photography in 1932, according to a curriculum vitae he prepared in 1961. He worked as a motion picture cameraman between 1930 and 1936, moved to San Francisco in 1937, then to Europe in 1955 where he spent the last years of his life in Amsterdam and Paris. (Cindy Keefer: "Hy Hirsh Preservation: History And Mystery" in "KINETICA 3: Abstraction, Animation, Music - Featuring Hy Hirsh and the Fifties - Jazz and Abstraction in Beat Ear Film", Los Angeles, 2001)

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)