v3 / G.S.I.L.XXIX

(2004)

by video artist LIA was shows a cut of the live audio visual performances of LIA and the Portuguese electronic band, @c, whereby both the image and the sound layer are improvised.

White-blue graphic elements move vertically in both directions across the black screen. In their out of control border-bursting movements, the geometric figures leave behind visible tracks, which are subsequently covered over by the particles that follow. Over the course of the video, the relations of the sides of the overlapping objects change continually; they become increasingly longer and sharper so that, for example, the triangles are finally transformed into pointed needles. The drawings are partially dissolved by white, vertical stripes which form a rhythmic layer over the delicate animation. The video shows a cut of the live audio visual performances of LIA and the Portuguese electronic band, @c, whereby both the image and the sound layer are improvised. As with the visuals, the music is also mostly digital. Muted rhythm patterns are steadily deconstructed, so that they sound increasingly like freejazz.

LIA has a unique working method. She programs for her purposes a type of visual instrument that allows for many, diverse uses. Several factors determine each of the final results. The graphic elements, which she pre-designed, can be steered directly by the sound and manipulated by certain algorithms. And finally, the complex applications allow manual access via keyboard and mouse. In this video, it is possible to experience a permanent, pictorial creation and dissolution process. v3/G.S.I.L.XXIX is a fascinating, abstract time picture, an animated digital chronogram.
(Text: Norbert Pfaffenbichler, Translation: Lisa Rosenblatt)

Source: Lia

v3 / G.S.I.L.XXIX, vierecke, software, female, Video Clip

Reading

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)

Grid Index (2009) by Carsten Nicolai is the first comprehensive visual lexicon of patterns and grid systems. Based upon years of research, artist and musician Carsten Nicolai has discovered and unlocked the visual code for visual systems into a systematic equation of grids and patterns. The accompanying CD contains all of the grids and patterns featured in the publication from the simplest grids made up entirely of squares to the most complex irregular ones with infinitely unpredictable patterns of growth, as editable vector graphic data files. (Gestalten)

Links

Lia is an Austrian artist and one of the early pioneers of Software and Net Art. She has been creating digital art, installations and sound works since 1995. Her Internet works combine various traditions of drawing and painting with the aesthetic of digital images and algorithms. They are characterized by a minimalist quality, and by an affinity with conceptual art. (Lia)

Construction 76 (2008) by video artist LIA was created in collaboration with the musicians collective @c. A five-minute sound track was taken from @c’s 55-minute track 76 and synchronized with visuals: parallel to a sound oscillating between bongo sounds, electronics, rich sonic associations and atmospheric piano/cello sounds, the computer-programmed video features arabesque-like shapes and simple graphic elements that arise against a cosmic, black and red background, multiply and vanish again. (Lia)

Giant Steps (2001) - Michal Levy translated John Coltrane's jazz standard into an animated visual – a geometric structure that stretches and careens to Coltrane's sax. In so doing, Levy illustrates the architectural thinking behind Coltrane's work, in which a musical theme defines a space. (FlasherDotOrg)

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)

Tarik Barri is an audiovisual composer based in Utrecht, the Netherlands. Reflecting his interests in programming, drawing and composing into a coherent multimedial discipline, he developed and uses software that merges audio and visuals into a new audiovisual reality. (Sonic Acts Festival)

‘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)

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)

Visual Music Archive

v3 / G.S.I.L.XXIX

Reading

Links

Related

SEE ALSO