1. Jon Wozencroft writes:

    "Liquid Music was made in 2001, in conjunction with the music Christian Fennesz was developing during that fertile period when the future was still a good idea. The first version – this is it – was premiered during the Touch tour of 2001, the time of Fennesz’s Endless Summer and the steady movement towards Venice.

    The footage for Liquid Music originates from Prague, Paxos, Crete, Cephalonia, Messinia, London and one short clip from Monterey Bay. It was filmed on Hi–8 and mini–DV between 1995 and 2001. The main idea was to film everything through the lens, with no post production other than the compilation of many years work into a coherent whole. Fennesz’s music, and its ascendent quality, made that a pleasure. The optical quality is on the cusp between analogue and digital resolution. In many respects it’s an exchange of values as much as working methods.

    I feel it’s one of the best works we did in the last 10 years. The Brighton concert, where the audio comes from, was a key moment on the Touch 2001 tour. The PA was Loud. Everything worked. The film, as on all nights, was played in parallel, it is not sync’d in the conventional sense. Every time is was shown it was different. On this night, the second night of the tour, the audience was shocked in a way that shock rarely happens these days.

    This very same year, industry experts got together in California to set the MPEG compression codes for DVD mastering. MPEG4 algorithms basically sample 3 frames out of the PAL 25 frames-per-second standard, and interpolate, which is OK if you’re trying to get a drama onto a DVD, but hopeless if the film involves very fast movement and transitions. Liquid Music is in some respects a laptop response to the celluloid flicker film from the 1960s – Paul Sharits, Tony Conrad, Stan Brakage – Peter Kubelka’s Arnulf Rainer. We tried everything Soho facilities houses had to offer but there was no way the film was going to master accurately onto the DVD format.

    The movement of water is a difficult thing to film, and to sonify. For years the only way Liquid Music could be shown was either as a live projection or a dedicated screening – these have taken place at Tate Modern, the BFI, Austria, Hungary, Germany... Ten years later, the satisfactory outcome is to see what it looks like on an iPad or an iPhone, and then to imagine it on the big screen."

    Thanks are due to: David Metcalfe, Kamal Ackarie, Steve Connolly, Andrew Lagowski, Philip Marshall and Denis Blackham.

    See also: Callum Coats, Living Energies – An Exposition of Concepts Related to the Theories of Viktor Schauberger, Gateway, Dublin 1996.


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  2. I'm supposed to edit some live footage I've recently recorded of Sonic Youth as content for sonicyouth.com and am interpreting the task relatively freely.

    This piece is comprised of treated footage from SY's 2010 Prospect Park show in NYC. I've pulled every clip documenting the musicians' feet (mostly re-zoomed and therefore, degraded, footage) to choreograph the sort of dance discussed in the overdubbed dialogue. I imagined the physical movement inherent to live rock performance as a pure, contemporary extension of the classical Indian Sangita mentioned by John Cage--Sangitas being visualizations of melody as people.

    The attached dialogue was captured from a streamed-special on Merce Cunningham that aired around the time of his passing. A Minneapolis reference suggests it might be from the Walker Art Center, but I'm uncertain. This segment of audio features Merce and John Cage in conversation about motion, sound and chance versus correlative approaches to meshing them.

    # vimeo.com/22756620 Uploaded 4,147 Plays 0 Comments
  3. DVD VII: Fennesz: Mahler Remix
    Christian Fennesz/ Musik, Lillevan/ Visualisierung
    Spieldauer: 69 Minuten

    Das lied lab 2011: gustav mahler festival führte die 2010 gestartete Entdeckungsreise in die aufregende Welt des Liedes weiter. Das „lied lab“ wurde 2010 als Kreativlabor mit dem Ziel gestartet, durch die Zusammenführung von Musik und digitalem filmischen Bild neue Zugänge zum klassischen Kunstlied zu ermöglichen.
    Die „Gustav Mahler Lied Collector’s Edition“ ist eine sieben DVDs umfassende Box, die als Ergebnis des „lied lab 2011: gustav mahler festival“ erscheint. Das „lied lab“ wurde 2010 als Kreativlabor mit dem Ziel gestartet, durch die Zusammenführung von Musik und digitalem filmischen Bild neue Zugänge zum klassischen Kunstlied zu ermöglichen.
    Die DVD-Edition präsentiert fünf Programme dieses Kreativlabors, ergänzt durch zwei Studioproduktionen. Sie gibt damit Zeugnis von den Möglichkeiten neuartiger Kooperationen zwischen KünstlerInnen aus verschiedenen kulturellen Bereichen. Im Unterschied zur Live-Situation der Konzertabende wird auf den DVDs nicht die bloße Reproduktion dieser geboten, sondern eine wiederum neuartige Form der Begegnung: Zu in Studioqualität aufgenommenen Liedern erlebt das Publikum die Visualisierung in voller Bildgröße.
    Abgerundet wird diese bislang einzigartige Auseinandersetzung mit dem Liedschaffen Mahlers durch eine 192 Seiten umfassende Buchpublikation mit ausgewählten Texten zu den sieben Programmen der Lied Collector’s Edition sowie Fotografien und KünstlerInnenporträts vom „lied lab 2011: gustav mahler festival“ im ORF RadioKulturhaus.

    # vimeo.com/33584386 Uploaded 1,616 Plays 1 Comment
  4. Music: "Intro" by The XX

    Thanks to:
    Polivideo SA

    # vimeo.com/19096387 Uploaded 2,301 Plays 5 Comments


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