Visual Music Archive

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Transmissions 

(2010) 

by Kasumi captures tiny revelations in small gestures and fleeting facial expressions. The 3-minute shortfilm explores their meanings, translating them into a metaphorical language synthesized from all forms of artistic expression.

People reveal themselves in small gestures and fleeting facial expressions that, no matter how deliberate, self-aware or artificial, are invested by the person performing them with an element of totally unconscious feeling. I created transmissions to capture these tiny revelations and explore their meanings, translating them into a metaphorical language synthesized from all forms of artistic expression: image, movement, music, shape, light and composition. The point is to illuminate the mysteries of human thought and behavior on their own terms – viscerally, instinctually – and to trigger viewers’ similarly unconscious feelings through their powers of perception and association. 

 

Source: Kasumi on Vimeo

 

 

Transmissions, found footage, editing, Video Art

Reading

‘vE-”jA: Art + Technology of Live Audio-Video (2006) by Xarene Eskander is a global snapshot of an exploding genre of tech-art performance: VJing and live audio-video. The book covers 40 international artists with 400+ colour images and 50+ movies and clips on an accompanying DVD and web downloads. (VJ Book)

Paul Sharits (2008) edited by Yann Beauvais. Known primarily for his experimental cinema and pictorial works, Paul Sharits developed an oeuvre that evolved around two central themes: one, closely related to music and the world of abstraction, the other, within the psychological and emotional arena of the figurative. This complete monograph, drawn from a recent exhibition, explores the connections between these two practices, and in addition provides a general introduction to a remarkable body of work. Illustrated throughout, the monograph also includes several essays, texts by Paul Sharits and interviews. (les presses du réel)

The Art of Projectionism (2007) by Frederick Baker (in German) sets out the principles behind his use of projectors in the film making process. He defines a projectionist school of filmmaking and media art. In this publication he also presented Ambient film, a surround experience that can be shown in specially developed cinemas. (Wikipedia)

Links

 

SEE ALSO

Logic of mind (2006) by Robert Heel. The scenario of this piece is a static shot of a wooden floor. Main elements for the composition are a synthesizer, a drum machine and different parts of the screen for percussive sounds of knocking. (Robert Heel)

Robert Heel is a German audiovisual artists, VJ and electronic musician in the fields of video and sound design, installation, audiovisual live performance, VJing and music production. (Robert Heel)

Audio-Vision: Sound on Screen (1994) by French critic and composer Michel Chion reassesses audiovisual media since the revolutionary 1927 debut of recorded sound in cinema, shedding crucial light on the mutual relationship between sound and image in audiovisual perception. (Colombia University Press)

Christian Ernest Marclay (*1955) is a Swiss-American visual artist and composer. Marclay's work explores connections between sound, noise, photography, video, and film. A pioneer of using gramophone records and turntables as musical instruments to create sound collages, Christian Marclay is, in the words of critic Thom Jurek, perhaps the "unwitting inventor of turntablism." His own use of turntables and records, beginning in the late 1970s, was developed independently of but roughly parallel to hip hop's use of the instrument. (Wikipedia)

The Z-Axis (2003) is a multi layered live audio visual performance by The Light Surgeons that fuses classic cult cinema with electronic sound scapes mixed live by DJ and audio artist Scanone. It has been toured internationally to venues such as: The Guggenheim Art Museum in Bilbao, San Fransico Art Institute, Moderna Museet in Stockholm, and the Villette in Paris between 2003 and 2006. (The Light Surgeons)