Visual Music Archive

close Work Detail

 

Michael Fakesch: Don't stop 

(2007) 

by Tina Frank shows non-stop rotations and movements, a simple translation of the title. While the music's speed changes from slow to fast like chewing gum so does the image.

Don't stop was created as part of Michael Fakesch's (ex Funkstörung) project Vidos, a video anthology inspired by his latest album Dos.

A fine crowd of motion and graphic designer from all parts of the world have been taking part. Release date of this DVD is yet to be announced. The project was curated and organized by: Cornelia and Holger Lund (Fluctuating Images).

 

Source: Tina Frank's website

 

 

Michael Fakesch: Don't stop, stripes, drugs, Video Clip

Reading

Sonic Graphics/Seeing Sound (2000) by Matt Woolman presents exemplary work from studios around the world in three sections: Notation analyses the use of sign and symbol systems in creating identity and branding for music artists, recording projects and performances; Material considers how products can package the intrinsic nature of the music they contain; and Atmosphere looks at how space and multidimensional environmeaants can be used to visualize sound. A reference section includes studio websites and a glossary. (Thames & Hudson)

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)

Notations 21 (2009) by Theresa Sauer features illustrated musical scores from more than 100 international composers, all of whom are making amazing breakthroughs in the art of notation. Notations 21 is a celebration of innovations in musical notation, employing an appreciative aesthetic for both the aural and visual beauty of these creations. The musical scores in this edition were created by composers whose creativity could not be confined by the staff and clef of traditional western notation, but whose musical language can communicate with the contemporary audience in a uniquely powerful way. (Notations 21 Project)

Links

 

SEE ALSO

Harry Everett Smith (1923-1991) was an American archivist, ethnomusicologist, student of anthropology, record collector, experimental filmmaker, artist, bohemian and mystic. Harry Smith is a well-known figure in several fields. People who know him as a filmmaker often do not know of his 1952 Anthology of American Folk Music, while folk music enthusiasts often do not know he was "the greatest living magician" according to Kenneth Anger. (Wikipedia)

Synchromie (1971) by Norman McLaren features synchronization of image and sound in the truest sense of the word. To make this film, Norman McLaren employed novel optical techniques to compose the piano rhythms of the sound track, which he then moved, in multicolor, onto the picture area of the screen so that, in effect, you see what you hear. (National Filmboard of Canada)

Peyote Queen (1965) - a classic of the psychedelic tendency, directed by the film-maker Storm De Hirsch. An attempt to visually render the wealth of kaleidoscope visions of peyote, the hallucinogenic cactus ritually used by the Indians of New Mexico. (Americo Sbardella: "Abstract Cinema, a History of Avant-Gardes")

Steve Reich: Second Movement (2006) - D-Fuse, in collaboration with director and designer César Pesquera performed with the London Symphony Orchestra for Steve Reich's 70th Birthday concert at the Barbican Hall featuring live video mixed to Reich's The Desert Music. (D-Fuse, PDF)

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)