One 

(2007) 

is a music animated short film created in 2007 by Michal Levy to the music of Jason Lindner. It was animated by studio FatCat.

On the basis of Jason Lindner's tune – Suheir, Michal Levy has created a murky urban environment. This is a machine-city that functions at the fervent rhythm of cylinders, maintaining a quasi-organized chaos. Amidst the city's dull hustle and bustle two structures aspire to detach themselves from the rest. The machine-city binds them through the sound of mechanical, repetitive music preventing them from distancing themselves from it. At the conclusion of a continuous musical struggle, the defiant structures detach and make their way out towards a journey of improvisation and liberation.

Levy's city, constructed from within and through the music, offers a visual interpretation of the tune. The urban esthetic – the relation between the mass of buildings, the colorfulness, the movement, the pandemonium serve as a metaphor for the music.

As an artist and a musician, Levy often deals with the connection between the two domains. The visual interpretation that Levy applies to the music produces a fascinating and humorous dialog, between the musical language and the visual language.

 

Source: Loushy

 

 

There’s something wondrous about the power the motion graphics artist has to transfix an audience with simple shapes by marrying their movement to sound and music. For me, the simpler the base elements and the cleaner the design, the more likely I am to be taken with the piece.

 

I was first introduced to the work of Michal Levy a few years ago by the simplest of beginnings; a magenta dot on a background of navy, which shifted and grew to form a multi-storey building to the strains of John Coltrane’s jazz masterpiece Giant Steps, from which it took its name. Although a music student and trained jazz saxophonist of many years, it was Levy’s difficulties mastering the playing of Giant Steps that led to her compulsion to express the piece visually despite a complete lack of prior knowledge of motion graphics or  3D:

 

"I chose a tune that I couldn’t ever really play. I decided to understand it and deal with it in my own way. I have never done an animation film before. I never worked with a 3D software before. But I thought that I must take a chance and just go for it." (FlasherDotOrg)

 

The chance paid off as Giant Steps became a much praised piece that continues to screen today despite being created back in 2001. I’ve only recently checked in with Levy, and so was pleased to see that she’d returned to her personal quest to understand how music looks with One by animating Jason Lindner’s Suheir. As with jazz itself, it’s hard to describe One and do it justice, but I’ll give it a try.

 

Things begin with a steadily growing waveform which pulses and kicks as piano is joined by drums and bass. Yet as it comes to dominate the screen, it becomes clear that we’re not looking at a waveform but a city pulsing and alive with music as announced by the horns. The buildings then shift into colours and twist off to form a vibrant Synesthesia landscape.

 

As you can probably tell from that woeful attempt, One is a piece that needs to be felt and experienced, it most certainly loses something in the translation into words. To realise the piece Levy called in the animators over at Studio FatCat who set to work with Maya. Whilst many artists fear that exposing their process of work may detract from the completed piece, Levy has embraced it by making sketches, work in progress and a videoboard freely available on her site.

 

I’ve never been a fan of jazz as it was always an area of music that I just didn’t get, but with Levy as my guide I can literally see what I’ve been missing.

 

Source: Short of the Week

 

 

One, jazz, architecture, 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)

 

SEE ALSO

Audio Kinematics (2007) is an audio/video installation by Jost Muxfeldt. Audio Kinematics works with the phenomenology of sound and space, and how a listener is manifest in that space. Formally, it plays with the idea of kinematic relations on the level of sound: a virtual audio sculpture. It utilizes the spatial relations and proportions of a mechanical structure to determine various parameters of a sound composition, and creates a kind of virtual kinetic sound sculpture. (Jost Muxfeldt)

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. (Wikipedia)

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)

Yannick Jacquet (*1980) lives and works in Brussels, Belgium. Originally trained as a graphic artist, he now devotes his time to developing a personal language using video and a wealth of projection techniques. Yannick Jacquet's work is characterised by a desire to break out of the traditional formats of video-projection and finding ways to integrate video into the performance space. These ideas are developed and performed in the form of audiovisual performances, installations and scenography. (Yannick Jacquet)

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)