This is another clip created years ago (2004-2005) when working with Montreal-based composer Jean Derome (actuellecd.com/en/bio/derome_je/), while we were making our two films, "Liaisons" (nfb.ca/film/liaisons_fr) and "Rupture" (vudici.net/movies/ONF-NFB/Rupture/Rupture_excerpt.html) with/for the National Film Board of Canada.
We followed a process close to the Surrealists' "Cadavre exquis," starting with my giving Jean Derome a silent clip for which he composed music.
But he did so twice, which then enabled me to take one of those two audio files and create new images for it, new images for which he composed new music, etc.
This process grew, Jean started sending me more than two compositions per video clip, once as many as 13, and we entered a world of "Visual Music" the likes of which we had never known (in less than a year, we had created about one hour of original material).
Needless to say, this was a bit too experimental for the NFB, it wanted us to make a film, and a 6 minute film at that. We managed to gain the "right" to make a 9 minute film ("Liaisons") followed by a shorter 2 1/2 minute sequel ("Rupture").
But the world we had uncovered when working without studio restrictions was too strong and promising to be abandoned, the piece presented here (image quality is low, the uncompressed originals have been lost to hard drives melt-downs) is an example of what we continued to explore on our own.
What became very clear through those explorations was the fact that music informs images as much as images inform music and that working in a non-figurative, non-narrative sphere(s) opens up avenues of exploration and discovery that are as challenging as they are uncharted..
This clip is made of 3 short pieces, each time displaying the "same" video, but each with a different music, musics composed for that video.
The other clip from the same series is available here: vimeo.com/67131024
I suspect the discriminating viewer will see how much the "same" images are informed differently by different musics and that the images also show fairly clearly how much the habitual differentiation between figure and ground can be avoided, equivocal (or "a-dimensional") space can also live in time-art.
Clip uploaded to Vimeo as an illustration for this blog entry: blog.animationstudies.org/?p=346
And here’s an album presenting some of the work we have done together since: With Jean Derome
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