Study No. 7 


- original title: Studie Nr. 7. This short film was one of a dozen "studies" spanning the 1920s and '30s. This one is a gorgeous visual tone poem with a few small, dynamic white shapes popping decoratively out of a sea of blackness.

© Center for Visual Music


Study No. 7 was one of a dozen "studies" spanning the 1920s and '30s. This one is a gorgeous visual tone poem with a few small, dynamic white shapes popping decoratively out of a sea of blackness.

"For Study No. 7, Oskar Fischinger found in Johannes Brahms' Hungarian Dance No. 5 a perfect vehicle for his optical experiments. On one hand, the sharp, fast rhythms are an ideal counterpoint for Fischinger's first complete exploration of absolute darkness as a space matrix, with hard-edged shapes twisting, flickering and curving through it, rushing past the viewer, razor thin, with astounding illusions of depth. On the other hand, the sensuous gypsy violins are played off against soft but solid shapes that curl about each other with rich geometric languor. Conceived, charted and executed like the rest of the black and white studies with thousands of separate charcoal drawings on paper, the classically simple effects here are no less amazing in their own way than the astounding multiplicity of STUDY NO. 8."

(Dr. William Moritz, Film Culture)


Source: Canyon Cinema



Norman McLaren: "Fischinger was one of the great formative influences in my life. Around 1935, when I was about 20, in my student days at the Glasgow School of Art in Scotland, I saw for the first time an "abstract" movie. It was Oskar Fischinger's film done to Brahms' Hungarian Dance No. 5. It is difficult to describe adequately the impact it had on me: I was thrilled and euphoric by the film's fluent kinesthesia, which so potently portrayed the movement and spirit of the music. The experience made an incredible impression on me, excited a yearning in me, and was to have a profound, long-lasting influence on many of my films."

Len Lye: "Then I saw Fischinger's Studie Nr. 7 as a short at a regular cinema, and the dynamic dance of abstract light wouldn't go out of my mind... since I didn't have any money for cameras and cels, I started drawing directly on film, in experiments that led to Colour Box. Whenever I had a chance, I would go out of my way to see Fischinger films. He was a true, natural genius. He ought to be sainted, but I guess they don't have Art Saints."


Source: Center for Visual Music



Study No. 7, vierecke, Film


Oskar Fischinger (1900-1967): Experiments in Cinematic Abstraction (2012) edited by Cindy Keefer and Jaap Guldemond. This new monograph explores the position of Oskar Fischinger's work within the international avant-garde. The book examines his animation and painting, his use of music, his experiences in Hollywood, the Lumigraph, visual music theories, and his influence on today's filmmakers, artists and animators. The book also contains previously unpublished documents including texts by Oskar Fischinger himself, and unshot animation drawings. Essays compiled and commissioned by editor Cindy Keefer include new research and texts by Jean-Michel Bouhours, Jeanpaul Goergen, Ilene Susan Fort, James Tobias, Cindy Keefer, Richard Brown, Paul Hertz, Joerg Jewanski, and more. (Center for Visual Music)

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)

Visual Music: Synaesthesia in Art and Music Since 1900 (2005) traces the history of a revolutionary idea: that fine art should attain the abstract purity of music. Over the past one hundred years some of the most adventurous modern and contemporary artists have explored unorthodox means to invent a kinetic, non-representational art modeled upon pure instrumental music. (Amazon)



CLP: Bang Out (2008) directed by Berlin based video artist collective Transforma, taken from CLP's album called Supercontinental and is released on Shitkatapult. (Transforma on Vimeo)

Michal Levy was born and raised in Israel and graduated from Bezalel Academy of Art and Design, Jerusalem, in 2001. She currently resides in Philadelphia, Pennsylvania where she work as an art director. Since childhood, music, dance and painting have been an important part of her life and she has contributed to her passion for exploring the visualization of sound. (Michal Levy)

Trioon I (2003) by Karl Kliem. Music by Carsten Nicolai aka Alva Noto and Ryuichi Sakamoto. Both elements of the music, an analog piano and a digital sinus wave, are represented by two overlapping visual elements: the fading sound of the piano by three abstracted octaves of a keyboard with the keys fading out just as softly as the tones fade from hearing. (Dienststelle)

Rhythm 23 (1923) - original title: Rhythmus 23. More complex than Rhythm 21, the film is nonetheless a logical extent of Richter's conviction that film is modern art. Again, the orchestration of basic geometric forms according to precise rhythmical patterns is the basis for this second experiment. (time4time)

Rhythm 21 (1921) - original title: Rhythmus 21. An early, abstract animation by Hans Richter composed solely of squares and rectangles that change shape. This another attempt by the artist to apply musical principles to screen images. (Glenn Erickson)