Riow Arai: Death Breaks 

(2006) 

directed by Shane Lester, a designer at Wieden+Kennedy Tokyo and one third of the W+K TokyoLab visual team.

"As pop as I can be in a sense, in a much truer sense I am probably strange and perverse. That is why it seems very natural to do a video for Riow Arai, an artist who is never going to go mainstream, no matter how fucking awesome much of his output is. Not in this lifetime will it gain much momentum past the relatively small crowd of maniacs that already know about it; even in an imagined scenario such as the good folks like us at W+K picking it up and pushing it - the packaging, the videos, the media placement - it is simply not going to be adopted large-scale because it's not that kind of expression. I completely accept that this is the case with the large majority of media that I enjoy partaking in the consumption of.

At this point in my life I find myself in the awkward position of having a foot in two worlds that might naturally be thought of as irreconcilable, and it is a strange and yet often delightful mindspace to be in. Vast and miniute. Under and overground. How they are similar or different, and why. I guess I'd wager to say from where I stand, they simply aren't. Perhaps especially in Tokyo, where pop can be perverse, the under is overground and vice-versa, there’s no real point thinking about it - as long as one has a strong sense of what they like."

(Shane Lester)

 

Source: Shane Lester's blog

 

 

Riow Arai: Death Breaks, mittig, kugeln, design, Video Clip

Reading

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)

Digital Harmony (1980): On the Complementarity of Music and Visual Art – John Whitney, Sr. wanted to create a dialog between "the voices of light and tone." All of his early experiments in film and the development of sound techniques lead toward this end. He felt that music was an integral part of the visual experience; the combination had a long history in man's primitive development and was part of the essence of life. His theories On the complementarity of Music and Visual Art were explained in his book, Digital Harmony, published by McGraw-Hill in 1980. (Paradise 2012)

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)

 

SEE ALSO

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)

Orchestrion / Conductor (2011) by United Visual Artists was initially build as part of their ongoing relationship with the Creators Project, redesigning the main stage for Coachella 2011. Creating both a platform for performance and a standalone light and sound sculpture, Orchestrion is a collaboration with composer Mira Calix. Featuring sliding doors, the 64m3 cubic structure opens for bands to perform in it, and closes as part of its own performance taking place at set times during the three day festival. (United Visual Artists)

Universal Everything is a UK-based diverse studio at the crossover between design and art. With commissions ranging from packaging to stadium events, for clients from Apple to London 2012 Olympics. Their works have shown in galleries from Museum of Modern Art, New York to Colette, Paris. (Universal Everything)

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)

Origin (2011) is the latest development in United Visual Artists' exploration of large-scale responsive LED sculpture. As part of The Creators Project New York event, United Visual Artists have created Origin, a responsive installation meant to explore our society’s acceptance of a technocratic life form. Hedged between the two Bridges on Brooklyn’s shore, a 10m x 10m cube of light both disrupts and reflects the City, eliciting an emotional reaction from those that enter its realm. Score by Scanner. (United Visual Artists)