The Music of Gustav Mahler in Experimental Film Contexts

2017 ◽  
Author(s):  
Jeremy Barham
Keyword(s):  
Digital Media ◽  
Experimental Film ◽  
Gustav Mahler ◽  
Historical Perspectives ◽  
Visual Music ◽  
Dark Matters

The anniversary years of the composer Gustav Mahler (150 years of his birth in 2010, 100 years of his death in 2011) took place in the age of digital media, whose technological possibilities afforded strikingly diverse opportunities to mark the occasion. Various experimental sound and video artists, produced audiovisual translations and interpretations of the composer’s music at this time, including Danish composer Henrik Marstal with VJ Dark Matters, and Austrian experimental composer Fennesz with Berlin-based video artist Lillevan. Building on a tradition which had begun in the 1990s, this repertoire is examined here from the theoretical and historical perspectives of “visual music” and intermediality.

ZigZag

2013 ◽  
Author(s):  
Lisa Perrott
Keyword(s):  
Digital Media ◽  
Visual Imagery ◽  
Raw Materials ◽  
Musical Instruments ◽  
Material Life ◽  
Visual Music ◽  
Complex Process ◽  
Theatrical Performance ◽  
Theatrical Performances ◽  
Life Force

This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. Animators and visual music artists have long experimented with technological devices to explore the image–sound relationship, often innovating new ways of composing motion in time and space. For Len Lye this involved pioneering methods of animation and exploring the material qualities of organic materials such as film and metal, creating a substantial body of handmade animations that continue to affect audiences and inspire contemporary practitioners. Lye’s work provided the inspiration and raw materials for the development ofZig Zag, an homage to Lye, which integrated traditional musical instruments with digital media, remixed and projected visual imagery, and improvised theatrical performance. This complex process of remediation is discussed in relation to the extracinematic animation of both Lye’s sculptures and the theatrical performances. Extending the term “animation” is fundamental to understanding the wayZig Zagis a reanimation of the latent material life force embodied in Lye’s resting sculptures.

Sculpting Image and Sound

2016 ◽  
Author(s):  
Cornelia Lund
Keyword(s):  
Digital Media ◽  
Digital Technology ◽  
Sound Art ◽  
Artistic Production ◽  
Visual Elements ◽  
Visual Music ◽  
Use Of Technology ◽  
The Status ◽  
Media Formats

Digital technology increasingly has offered new possibilities of combining audio and visual elements, be it in live performances, installations, or videos. The Canadian artist and musician Herman Kolgen plays the different genres like a virtuoso, exploring overarching themes in audiovisual performances as well as audiovisual installations. This chapter offers a case study that takes Kolgen’s work as an example of artistic production that pushes its investigation of audiovisual combinations in different directions by its flexible use of analog and digital media formats. The chapter first discusses the status of Kolgen’s work in terms of categories of audiovisual production such asvisual music, live cinema, andsound art. It then focuses on an analysis of his work under three aspects: exploration of media formats, use of technology, and relation to performance and performativity. At the same time, the chapter situates Kolgen’s work in the wider context of audiovisual art.

Casting

2020 ◽  
pp. 193-210
Author(s):  
Yiyun Kang
Keyword(s):  
Digital Media ◽  
Three Dimensional ◽  
Experimental Film ◽  
Video Installation ◽  
Moving Image ◽  
Projection Mapping ◽  
Moving Images ◽  
Outdoor Spaces ◽  
Augmented Space ◽  
Volumetric Objects

This chapter investigates how projection mapping reconfigures the relationship between projection surface, moving image, and space in the field of artists’ projected moving-image works. Projection mapping is a relatively new method that can be used to transform irregularly shaped objects and indoor/outdoor spaces into display surfaces. This mode of projection envelops three-dimensional surfaces with digital moving images, using complicated projection technologies. In examining this process, the author analyses various contextual reviews as well as her own piece Casting to discover projection mapping’s distinctive properties. Casting (2016) is Kang’s projection-mapping installation at the Victoria and Albert Museum (V&A) in London, which was created as the culmination of Kang’s six-month artist-in-residency program at the V&A, and acquired by the institution in 2017 as its first purchase of a projection-mapping installation piece. This chapter examines how, by integrating volumetric objects and space, projection mapping dismantles the conventional notion of screen and frame that are accepted in experimental film and video installation works. The chapter introduces the concept of augmented space to understand how the spatial employment of projected moving images generates a novel type of narrative and experiences in comparison with the previous projected moving-image artworks. Accordingly, the chapter identifies how projection mapping practices can develop a distinguished type of aura in the realm of digital media art works.

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