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Ólafur Arnalds: Ljósið 

(2009) 

by Argentinian motion graphic artist Esteban Diácono is the official music video for the track Ljósið taken from Ólafur Arnalds' album Found Songs.

Esteban Diácono – a young motion graphic artist from Buenos Aires, Argentina – created an astonishing animation video for Ljósið, which found its way into the hearts of over 400,000 people within 2 weeks via Vimeo and YouTube.

 

Source: Erased Tapes

 

 

"I first imported the audio and set up 2 sounkeys layers, one for the piano and one for the strings. Then i worked the particles and the particle subsystem and linked things like the emission, the turbulence, the velocity, the spin amplitude and the strength of the fields to the sound key outputs.

"Then i set up the colors with 2 different palettes, and well, after that there was a lot of trial and error in order to achieve what i was looking for.

There's a lot of randomness involved here, so there was also a lot of luck, of course."

 

Source: YouTube

 

 

Ólafur Arnalds: Ljósið, liquid, partitur, Video Clip

Reading

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)

Synesthesia: A Union of the Senses (2002) by Richard E. Cytowic disposes of earlier criticisms that the phenomenon cannot be real, demonstrating that it is indeed brain-based. Following a historical introduction, Cytowic lays out the phenomenology of synesthesia in detail and gives criteria for clinical diagnosis and an objective test of genuineness. (MIT Press)

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)

Links

 

SEE ALSO

Sons et Lumières (2004) – A History of Sound in the Art of the 20th Century (in French) by Marcella Lista and Sophie Duplaix published by the Centre Pompidou for the excellent Paris exhibition in September 2004 until January 2005.


Curated by the Pompidou’s Sophie Duplaix with the Louvre’s Marcella Lista, the show required a good three or four hours to absorb, with its bombardment of sensory and intellectual input, including painting, sound sculpture, sound/light automata, film and video, and room-size installations. (Frieze Magazine)

Kandinsky (2009) edited by Tracey Bashkof is the first full-scale retrospective of the artist's career to be exhibited in the United States since 1985, when the Guggenheim culminated its trio of groundbreaking exhibitions of the artist's life and work in Munich, Russia, and Paris. This presentation of nearly 100 paintings brings together works from the three institutions that have the greatest concentration of Kandinsky's work in the world, the Solomon R. Guggenheim Museum, New York; Centre Georges Pompidou, Paris; and Städtische Galerie im Lenbachhaus, Munich; as well as significant loans from private and public holdings. (Guggenheim)

Visual Kitchen explores the semantics of live AV performance and video art from a background of VJ’ing and music video production. As designers of moving images, VK adapts any kind of (non-)narrative structure into dazzling trips of visual flux, combining rigorously structured loops with soft- or hardware-generated chaos. The output is very diverse and versatile, from analogue photographic to digital minimalism, exploring the parameters of the canvas. (Visual Kitchen)

Optical Poetry (2004) by Dr. William Moritz is the long-awaited, definitive biography of Oskar Fischinger. The result of over 30 years of research on this visionary abstract filmmaker and painter. In addition to Moritz's comprehensive biography, it includes numerous photographs in colour and black and white (many never before published), statements by Oskar Fischinger about his films, a newly created extensive filmography, and a selected bibliography. (John Libbey Publishing)

Voyage (1981) is an abstract video by Dean Winkler, Tom DeWitt, Vibeke Sorensen and Robert Lund. Music by Tom DeWitt and Vibeke Sorensen. A flight inwards and outwards, this piece is inspired by Marshall McLuhan's idea that electronic media extend our perception. (Vibeke Sorensen)