1. Horizon: The Electronic Frontier

    49:40

    from Sheila Hayman / Added

    Made in 1993, This was the first network documentary to tell the story of the digital revolution, then unfolding on the West Coast of America. From online communities to the vanishing High St, from invisible digital retouching and graphical user interfaces to copy-and-paste editing, it's all here. It also includes the first major interview with Bill Gates, then just a fresh-faced nerd in a Seattle office. (Seattle on this trip was also the first place I ever saw people queueing for coffee - in -10o, outside the first Starbucks). Most 'visionary' books and films are at least partly wrong. This one wasn't. I'm proud of it.

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    • take the bus [2002]

      05:20

      from jade = michaela schwentner / Added

      423 Plays / / 0 Comments

      Layers, grids, loops and filters: Michaela Schwentner’s video take the bus makes use of the basic means of composition employed for the piece of music it accompanies, applying them visually. While there is no direct translation of the music, which is largely without reference, a transfer takes place from one medium to another and the images are derived from the tracks’ structures. There are the various rigidly, at the same time playfully reduced sound layers: General Magic loosely overlapped slowly grooving shuffle sounds, and interference is created through five to six simultaneous tracks in each individual sound layer. The same happens in Schwentner’s pulsing black-and-white animation: Small fields filled with silhouettes blink along with the ping-pong beats in grid lines layered in two dimensions. The result is a mostly asynchronous flickering which conveys the impression of acceleration. When a sound layer is added, rectangular frames, transparent “blocks” and lines of pixels move across the pulsing field from the right or from above. The individual layers are looped: The old General Magic obsession with driving and speed is in this case slowed to a leisurely swaying “bus ride.” The same applies to Schwentner’s video translation, which spices up the music’s pleasantly slow pace with almost prickling warmth. Finally, the constant filtering becomes a principle of composition as the video departs from the music’s blueprint: Reference material is no longer discernible, solely “negative images” are created with digital filters, each one forming a separate world of its own. The “bus trip” through their audiovisual circuits has begun. (Christian Höller)

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      • chronomops

        01:22

        from Tina Frank / Added

        audio: General Magic video: Tina Frank length: 2 min produced: 2005 ------------------------------- Pforten der Wahrnehmung, electronic style. Tina Franks Chronomops stößt Türen zu wahrlich anderen Dimensionen auf. Anders als die in der digitalen Kunst heute üblichen Reduktionismusstudien, anders als die auf Serialität angelegten Minimalbilder, anders schließlich als die allgegenwärtigen Filter- und Überlagerungsexperimente eröffnet Chronomops einen flirrend bunten Raum, der Farbexzess, Wahrnehmungstaumel und Popkarussell zugleich ist. Eine abstrahierte Architektur aus vertikalen Farbbalken wird unablässig in Rotation versetzt, wobei die Module und Bausteine nur so um sich fliegen – und das ganze System gleich auch noch um sich selbst rotiert. In der forcierten, teils ruckartigen Bewegung bildet sich ein digitaler Malstrom ab, dessen Sog die BetrachterInnen tief in sich hineinzieht. Ein System, das wie aus dem Nichts auftaucht, sich eigendynamisch in immer neue Mobilitätsexzesse stürzt, dabei abenteuerliche Achsensprünge vollzieht, sich vorübergehend in zweidimensionale Streifen auflöst, dann wieder in ein prismatisches Licht- und Farbenstaccato verfällt, sich neunzig Grad seitwärts neigt – um zuletzt Schwindelgefühle der höheren Art zurückzulassen: So demonstriert Chronomops, begleitet von der ebenfalls sogartig angelegten Musik von General Magic, was die Pop-Psychedeliker immer schon gewusst haben wollen: dass gleich um die Ecke eines entsprechend abgefahrenen Grooves die „andere“ Seite lauert, ein in unregulierter Bewegung befindliches Farben- und Formenlabyrinth, das bloß aus seiner Unsichtbarkeit gehoben und aus seiner Unkenntlichkeit befreit werden muss. Selten sah das Innenleben elektronischer Musik bunter und berückender aus. (Christian Höller für sixpackfilm) ----------- The doors of perception, electronic style. Tina Frank’s Chronomops opens doors to truly different dimensions: different than digital art’s reductionist studies so common today, different than the serially laid out minimalist images, and different than the omnipresent filtering and layering experiments. Chronomops opens up a shimmering, colorful space that is simultaneously an excess of color, frenzy of perception, and pop carousel. An abstract architecture of vertical color bars is set in endless rotation, whereby the modules and building blocks fly around themselves—and the entire system likewise rotates. The forced movement forms a digital maelstrom whose suction pulls the observer deep into it. A system surfacing as though out of a void, steadily plunging through its own dynamic into new excesses of mobility, while adventurously hopping axes, temporarily dissolving into two-dimensional stripes, then lapsing again into a prismatic staccato of light and color, tending towards a 90 degree angle, sideward—leaving an extreme dizzying feeling in its wake. Chronomops, accompanied by music from General Magic, which is also composed as a slip stream, thus shows what the pop psychedelics always knew to be true: that the “other” side looms right around the corner of the perfect groove, a labyrinth of colors and forms set in irregular motion, which merely has to be raised from its invisibility and liberated from its incomprehensible state. Electronic music’s inner life has seldom appeared so colorful and captivating. (Christian Höller for sixpackfilm) Translation: Lisa Rosenblatt rent for screenings: http://www.sixpackfilm.com

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        • KIDDS FUZZ: the wisdom of SARS

          08:22

          from Tina Frank / Added

          audio: General Magic & Pita video: Tina Frank produced: 2003 ------------------------------- hyperventilation of live visuals. “kidds fuzz” was a series of videos created during 2002/2003. These are excerpts from live performances of Tina Frank together with the musicians “General Magic” and “General Magic & Pita”. The principle of playing together was the opposite of to the typical video:audio setup: not audio triggered the video, but video generated sound, which was taken by the musicians as a starting point for their musical buildup. All visual imagery was created in a kids painting software. These videos are digital sketches which were drawn live during the performance. Before the performance I was going through the city, taking in impressions and feelings that are special for the town or using things that were happening during that time.

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          • aka (Skot)

            01:10

            from Tina Frank / Added

            audio: General Magic video: Skot produced: 1998 ------------------------------- aka means „red“ in japanese. it is a one-minute-piece produced 1998 for the japanese label „gasbook“. it is a beautiful combination of red & black/white colorblocks forming patterns to the music. they seem to be licking the screen and then disappear.

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