1. Berlin [Resonance] - Symphony of a Metropolis (parts)

    09:48

    from StudioUrbanResonance / Added

    8 Plays / / 0 Comments

    The study Symphony of a metropolis provides an aural experience of the polyphony of both the historical and the contemporary Berlin. It starts from the silent movie "Sinfonie einer Großstadt" of the German artist, architect and director Walter Ruttmann that documents and stages visually one day of the life in the city of Berlin. Our work conceives the 60 minutes silent movie as a musical score. Recordings of today's sounds of the city of Berlin are being opposed to the films visual stagings. The silent movie of 1927 gets a soundtrack from today. The modality of the film tries to facilitate two contradictory listening attitudes: up to the actual contemporary soundlayer of the film and down to the silent sounds that come inevitably up with their elision.

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    • Re-interpretación sonora - Walter Ruttmann - Lichtspiel: Opus II (1921)

      01:05

      from Belen Provedo del Pozo / Added

      8 Plays / / 0 Comments

      A través de un fragmento de la obra de Walter Ruttmann y usando el programa Pure Data he realizado esta interpretación sonora más abstracta siguiendo los cambios de ritmos y de formas.

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      • audiodrop - focus on a day (live@opeldesigncentrum 2013)

        12:14

        from audiodrop / Added

        6 Plays / / 0 Comments

        audiodrop live set at the opel design centre in rüsselsheim, germany. the visuals are synchronised with the music. visuals, edit & fx by shoog music: audiodrop - focus on a day

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        • “Conrad Schnitzler – Kassetten-Konzert” with Wolfgang Seidel

          01:35:26

          from Atelier Nord / Added

          150 Plays / / 0 Comments

          “Conrad Schnitzler – Kassetten-Konzert” with Wolfgang Seidel performed at Atelier Nord ANX, Oslo on Tuesday 9th of September 2014 in conjunction with the opening of the exhibition MOBILE by Conrad Schnitzler. Atelier Nord is proud to present Conrad Schitzler’s (1937-2011) audiovisual installation MOBILE during this year’s Ultima festival. The installation is based on a combination of Schnitzler’s experimental videos and audio from Schnitzler’s cassette-concert project. The videos, in which Scnitzler worked with the lighting and movement of black and white objects, are produced in the simplest way possible, without cuts or the use of effects, and are reminiscent of Hans Richter’s films or László Moholy-Nagy’s light-based works. The six accompanying compositions are based on 50 cassette tapes that Schnitzler produced for his cassette project, where he made recordings of each of the individual voices that make up an orchestra, cassettes being the simplest and cheapest recording method at the time. The goal of theses recordings, a concert with 1000 portable cassette players in the hands of 1000 participants, was unfortunately never realized. When Conrad Schnitzler died in 2011 he left more than 800 hours of material from this project, but practical and financial constraints meant that only the 50 cassettes were ever produced – the cassettes that the compositions in this installation are based on. Despite the limited number of tapes produced, the variety of voices and Schnitzler’s collage-like approach means that this material has a large range of compositional potential. The exhibition was curated by Carsten Seiffarth with arrangements by Wolfgang Seidel. Conrad Schnitzler was an artist that defied any attempt at categorization. Under Influence by the Fluxus movement, he joined together visual art and music, and after a while to an increasing degree performance, video and music. After an apprenticeship as a mechanical engineer and time spent as a sailor, Schnitzler was accepted as one of the very first students under Beuys in Düsseldorf. Yet he didn’t stay for long. In the beginning of the 1960’s he moved to western Berlin where he was among the founders of the influential concert venue for experimental music, Zodiak Free Arts Lab as well as the band Kluster. In Norway Schnitzler is best known for having contributed to the black metal band Mayhem’s debut album Deathcrush with the composition Silvester Anfang.

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          • audiodrop - Acciaio

            08:49

            from audiodrop / Added

            9 Plays / / 0 Comments

            interpretation of a film by walter ruttmann, made 1932 in italy. edited 1998 on an analoge 6-machine linear edit, with a sony bve9100 and a grass-valley 5-layer video mixer. mastered on d1. music: focus on a day

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            • CineSonic 52 - Raphael Vanoli & Seamus Cater meet Walther Ruttmann

              11:38

              from CineSonic / Added

              16.04.2014 SOTU Festival OT301 Amsterdam CineSonic regular collaborator Raphael Vanoli (electric guitar) teamed up with Seamus Cater (duet concertina) for a live screening of Walther Ruttmann’s Lichtspiel Opus 1. RAPHAEL VANOLI Raphael Vanoli creates unheard textures by using blowing techniques on his electric guitar. His music takes the form of uneven telluric sound-scapes and has elements of minimalistic song. At times loud and extreme, Vanoli’s music is especially meditative and body friendly. It hits the soul with waves of empathy. SEAMUS CATER Seamus Cater is an English musician / writer / performer / organiser, living and working in the Netherlands. Much of his music has a relationship to the British folk music revival of the 1950's and 60's while he does not try to recreate historical or modern folk music. WALTER RUTTMANN Walther Ruttmann’s Lichtspiel Opus 1, is the first of the four-part Lichtspiel: Opus was an early film career high for Walther Ruttman, an artist with a background in painting, graphic design, and architecture, and a future in Nazism (he supported Hitler and assisted Leni Riefenstahl with conceiving Triumph of the Will.) Ruttman was committed to a sanitarium after suffering a nervous breakdown on the Eastern Front during World War I. Not long after being released, he turned his sights to abstract animation, cementing his place as an early innovator of the form. Throughout the four Opus films, Ruttman utilizes tinting, toning, coloring of emulsions, and contemporary Oskar Fischinger’s wax-slicing methods, creating images intended to provoke the kind of emotional responses that one might experience while listening to music. www.cinesonic.nl

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              • CineSonic 10 - Apes Container_2 meets Walter Ruttmann's Berlin Symphony of a Great City

                01:02:24

                from CineSonic / Added

                06.11.2009 - Goethe Institute Amsterdam Berlin: die Symphony der Grosstadt | Dir. Walter Ruttmann | Germany | 1927 | 65 min | Uber classic experimental film by German experimental director Walter Ruttmann. The film portrays 24 hours in the buzzing life of Berlin in the 20's. Berlin Symphony was screened with a new score by the due Apes Container_2. Apes Container_2 a collaboration between sound artist Alberto Novello (JesterN) & performer Elisa Martinuzzi. www.cinesonic.nl

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                • Giorgio Bertinelli - Opus I

                  11:00

                  from Giorgio Bertinelli / Added

                  173 Plays / / 0 Comments

                  Video made by Walter Ruttmann in 1921. Music by Giorgio Bertinelli (2013) Premiered in 1921, Ruttmann’s Opus I is the first abstract or «absolute» work in film history. Instead of containing depictions of reality, it consists entirely of the colors and shapes formulated in Ruttmann’s «Painting With Light» manifesto. Following the neglected Opus I come three other purely abstract films. These too, are painstakingly colored by hand. On a dark background, light pulses, round or curved shapes pulsate at the center of the screen, one at a time. They are followed by many other forms, some undocumented, some pointed, others rounded.

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                  • Man With A Movie Camera 2D

                    01:43

                    from Laura Trager / Added

                    21 Plays / / 0 Comments

                    Man with a Movie Camera 2D is a translation and re-interpretation of Dziga Vertov’s project to create a “truly international language of cinema” in Viking Eggeling’s and Hans Richter’s medium, i.e. in 16mm 2D animation. Doubling Vertov’s initial aesthetic, abstract interpretation of cityscapes and city life by adapting Eggeling’s elementarization of natural forms, I carefully analyzed Man with a Movie Camera shot by shot and reduced its visually energetic images to their basic elements by translating brightness values of the black and white footage into colors with different brightness values, and shapes within the frame to simple, geometric forms. Using the “cut out” animation technique and a 16mm animation stand, I produced animated, two-dimensional, abstract images. Occasionally, the impression of three-dimensionality is created by using “replacements” (frame by frame, “cut outs” of larger or smaller dimensions are being replaced with each other in order to evoke the impression of growth or shrinkage when the film is projected or played back) and by overlapping. In a rhythmic (digital) edit, I seized many of Vertov’s experimental montage techniques (such as superimposition, extremely rapid, almost flickering cuts, and split screens). The roughly 2 minute film is thus related to Vertov’s film regarding the shape, number, distribution, and movement of elements within the frame, to Eggeling’s and Richter’s in its evenness of surface structure and two-dimensionality, and Ruttmann’s in its bold use of color.

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                    • Song of Nature

                      06:35

                      from Laura Trager / Added

                      42 Plays / / 0 Comments

                      Song of Nature translates the abstract filmic language of Dziga Vertov's and Walter Ruttmann's city symphonies of the 1920s into the natural environment of the national parks of the USA. A detailed analysis of Vertov's and Ruttmann's images, which are characterized by strong vectors, is the basis for the audiovisual composition of the film - the framing and editing reflect and analyze directly the highly affective, abstract filmic style of the city symphonies and thus the possibility to define the medium of film itself as an affective, universal language. Screenings: - July 2014: The Picture Show, Brooklyn, NY - October 2014: Lettretage, Berlin, Germany // Lightrail, Brooklyn, NY - November 2014: The New York Public Library, NY

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