Koyaanisqatsi 

(1982) 

[ˈkɔɪɑːnɪsˌkɑːtsiː], also known as Koyaanisqatsi: Life out of Balance, is a 1982 film directed by Godfrey Reggio with music composed by Philip Glass and cinematography by Ron Fricke.

The film consists primarily of slow motion and time-lapse photography of cities and many natural landscapes across the United States. The visual tone poem contains neither dialogue nor a vocalized narration: its tone is set by the juxtaposition of images and music. In the Hopi language, the word Koyaanisqatsi means 'crazy life, life in turmoil, life out of balance, life disintegrating, a state of life that calls for another way of living', and the film implies that modern humanity is living in such a way. The film is the first in the Qatsi trilogy of films: it is followed by Powaqqatsi (1988) and Naqoyqatsi (2002). The trilogy depicts different aspects of the relationship between humans, nature, and technology.

Koyaanisqatsi is the best known of the trilogy and is considered a cult film. However, because of copyright issues, the film was out of print for most of the 1990s.

 

The opening for The Grid is characterized by slow sustained notes on brass instruments. The music builds in speed and dynamics throughout the piece's 21 minutes. When the piece is at its fastest, it is characterized by a synthesizer playing the piece's bass line ostinato.

The film's soundtrack by Philip Glass was released in 1983, after the release of the film. Even though the amount of music in the film was almost as long as the film itself, the soundtrack release was only 46 minutes long and featured only selections from the film's pieces. In 1998, Glass re-recorded the album through Nonesuch Records with a length of 73 minutes, 21 seconds. The re-recording of the album featured two additional tracks from the film, as well as extended versions of previous tracks from the original album. The album was released as a Philip Glass album titled Koyaanisqatsi, rather than a soundtrack to the film. The music has become so popular that the Philip Glass Ensemble has toured the world, playing the music for Koyaanisqatsi live in front of the movie screen.

The complete original soundtrack recording was released on CD in 2009 on Glass's own label Orange Mountain Music.

 

Source: Wikipedia

 

 

Koyaanisqatsi, architecture, Film

Reading

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)

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)

 

SEE ALSO

Scanner: Light Turned Down (2001) by London-based D-Fuse is a performance focusing on the rhythmic relationship between light and sound as well as a live interchange between artists charting a conversational movement of colour, musical fragments, texture and image. (D-Fuse on Vimeo)

One Minute Soundsculpture (2009) by Daniel Franke (We Are Chopchop) scored by Ryoji Ikeda and filled with visual shenanigans that correspond to the soundtrack. (We Love You So)

Robert Seidel (*1977) is an experimental filmmaker and projection artist based in Germany. He began studying biology, but went on to gain a media-design diploma from the Bauhaus University Weimar. His films have been shown in art museums as well as at more than 250 festivals (Prix Ars Electronica, onedotzero, Dotmov, etc.), and honoured with prizes such as an Honorary Award at the KunstFilmBiennale and the prize for Best Experimental Film at the Ottawa International Animation Festival. (IdN)

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)

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)