by Berlin based Transforma. Audio by Apparat. Hi-gloss images out of simple, cheap materials, the juxtaposition of the polished and the rough and an homage to Chris Cunningham.

The music is pumping as improvised cardboard robot costumes get transformed into abstract animated colors and shapes.


Source: Transforma



Bolz, editing, people, Video Clip


Rewind, Play, Fast Forward (2010) – The Past, Present and Future of the Music Video by Henry Keazor, Thorsten Wübbena (eds.) brings together different disciplines as well as journalists, museum curators and gallery owners in order to take a discussion of the past and present of the music video as an opportunity to reflect upon suited methodological approaches to this genre and to allow a glimpse into its future. (transcript Verlag)

VJ: Audio-Visual Art + VJ Culture (2006) edited by D-Fuse. A major change has taken place at dance clubs worldwide: the advent of the VJ. Once the term denoted the presenter who introduced music videos on MTV, but now it defines an artist who creates and mixes video, live and in sync to music, whether at dance clubs and raves or art galleries and festivals. This book is an in-depth look at the artists at the forefront of this dynamic audio-visual experience. (Laurence King Publishing)

META/DATA: A Digital Poetics (2007) by pioneering digital artist Mark Amerika mixes (and remixes) personal memoir, net art theory, fictional narrative, satirical reportage, scholarly history, and network-infused language art. META/DATA is a playful, improvisatory, multitrack digital sampling of Amerika's writing from 1993 to 2005 that tells the early history of a net art world gone wild while simultaneously constructing a parallel poetics of net art that complements Amerika's own artistic practice. (The MIT Press)



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)

OFFF Lisbon Titles (2008) directed by Rob Chiu and Chris Hewitt. Rather than just repeat the previous titles for OFFF New York they decided to shoot various sea life in a studio using macro lenses to act as a metaphor for the conference both taking place in Portugal and to have a closer look at the speakers and their way of thinking. Shot over a day and finalised over an eternity with audio by Ben Lukas Boysen. (Rob Chiu)

4youreye was established in the early 1990s and is based on the Rave, Ambient and Club culture of that decade. 4youreye have, since their creation over 10 years ago, not only made a name for themselves in their own country but can also look back on manys uccessful international performances. The 2 man Crew stand for fast hard cuts and unconventional screen sequences taking images that we believe to know from old viewing habits, out of their original context to then generate them into a completely new context. That, what music tries its best to express, is portrayed here in always changing picture collages. (4youreye)

The Knife: Like A Pen (2006) is Andreas Nilsson's fourth video for The Knife, taken from their album Silent Shout. A colorful, hysteric journey starring a brown little curved fellow. (The Knife on Vimeo)

Gravity (2009) by Montreal-based designer Renaud Hallée is made from falling objects synchronized to produce rhythm. (Visual Music/ Maura McDonnell )