Directed by Vrishub Merai
Projected on a grid of particles that at times seem ordered, while sometimes chaotic and always in flux, Ormstad’s constructed language poetry is exposed and read by the author while performing to Mashtalirs pulsating music. Is everything connected to one another in the sphere that is shaping before the viewer’s eyes? How does language relate to the atmospheric scapes Vojjov creates of numbers, geometric forms and abstract shapes? LONG RONG SONG (2015) conveys Ormstad’s language research project that is based on AUDITION FOR FENOMENER UTEN BETEGNELSE (Audition for Phenomena without a Name), his second book of concrete poetry (2004). In the video, Ormstad reads through a cycle of 5 poems that present combinations of four letters made of an artifical language system that he has created and which may, or may not result in words commonly used in latin languages.
LONG RONG SONG is the first work of a collection created by the Norwegian-Russian duo OTTARAS (Ottar Ormstad and Taras Mashtalir) in collaboration with Russian video artist Alexander Vojjov. LONG RONG SONG exists in different versions made for screening and live performance. Raising awareness of electronic poetry and sonic ecology, attracting new audience to a potent yet to come genre is the inspiration for this collaboration.
The video is produced in HD 16:9 in color, stereo, duration 05:26
Animation: Alexander Vojjov
Music: Taras Mashtalir
Concrete poetry, voice & production: Ottar Ormstad
© Ottar Ormstad 2015
Shoot was between 2 cameras to created a hall of mirrors effect in a washed colour glow across the band members. The video was the product of Helena’s direction to create a current nostalgia through lights, angles and smoke machines.
Helena Papageorgiou is a video producer, illustrator and animator. Helena’s music videos incorporate various stylistic mediums to convey a sense of visual immersement. Combining these allows for a visual metamorphosis, condensation of form and meaning.
Helena is interested in exploring this in her music video production and animation which integrates mu
Directed by Seth Grimgart
The centerpiece of this film is a live performance of a scene from the 1607 edition of the libretto for Monteverdi’s “L’Orfeo” (no music extant). It has been enhanced with studio and location video, archival performance art footage, a percussion track and old 78s of Greek tavern songs. Introducing this eventually evolved into a TV show which became part of the sequence. The clown at the beginning (demonstrating the “clown turn”) is from the live show. Clowning, transvestitism and crude humor appeared in Monteverdi’s works (pre-figuring Commedia dell’Arte) often extraneous to the plot. All of this is an attempt to capture the spirit of Venetian opera of the era,
Born in town of “Two Egg” on the Florida panhandle; educated sporadically at Tulane and FSU before heading north during the great radical migration. In New York, worked as artist (storyboards for ad agencies), actor (Manhattan Theatre Club, La Mama,etc., NJ Shakespeare Festival, Judson Poets, PBS TV, WBAI radio, summer stock etc.) Original works at the Public Theatre and under the auspices of Composers Collaborative, Inc and The Genesius Guild. Long running Village variety series “Ave. A Conspiracy” which the Voice called “…a lower east side vaudevillian extravaganza…” and termed Grimgart “the prince of perversion himself.”
Creating video is a realization. Clips are objects to assemble in a design on the screen like a collage. Images overlap, sounds blend and the real story emerges. Of course, it takes real writing, real camerawork and real acting to get that all that started.
Szimonetta was born in Hungary in 1996. She went to study multimedia design abroad and also spent a semester studying at the University of Worcester. There she studied combined courses, such as film production and graphic design. During her time at the English university she produced Paradox as one of the projects. She travelled to Ukraine to make the film happen.
You are never too young to start filming.
The camera lens is able to give a visible expression of feelings that are often impossible to articulate. This short film is an attempt to use sensory imagery to explore and reflect the world of distorted reality brought on by an anxiety attack. A crippling bout of anxiety can strike at any time and without warning, and can change the way one views the world in profound ways. Anxiety alters attention and consciousness, twisting reality into a grotesque, emotionally charged image. To the anxious, the world is an unhappy place of stifling emptiness and persistent disorientation were ordinary things no longer make sense, and the universe is governed by some hostile alien logic. This is a bleak chronicle of an inward journey into that disquieting world.
Directed by Terry Trickett
As a piece of Visual Music, CITIRAMA combines moving visual imagery with musical performance on solo clarinet. The images conjured up in CITIRAMA take flight into a realm of fantasy, where the rhythms of music join the patterns of architecture to celebrate the qualities of an exceptional building – the Leadenhall Building known colloquially as the ‘cheesegrater’ – in the City of London. CITIRAMA is an experimental performance that reveals a new type of relationship between music and architecture – no longer frozen but, instead, constantly moving and inventive.
My activities in digital art have been influenced, in part, by my work as an architect and designer but, also, by my involvement, over many years, in an initiative that succeeded in bringing the disciplines of science and art closer together. With the Wellcome Trust, I invented and instigated a wide-ranging project (Sci-Art) in which scientists and artists, working in partnership, were encouraged to pool their ideas and, thereby, maximize each other’s creative potential. This project ran with considerable success for 10 years (1997 – 2006).
It’s this interest in the dual worlds of art and science that pervades my cross-disciplinary approach towards creating Visual Music. The method I adopt in harnessing together music and digital imagery was sparked off by a visit to the V&A’s Decode exhibition, in 2010, when I became aware of the opportunities offered by coding. At the exhibition, many works were built with Processing – an advanced program for creating movement – which led to me learning the techniques involved and then extending these skills into the realm of Visual Music.
The themes I select for my Visual Music presentations and performances, encapsulate a disparate set of interests and ideas that, more often than not, have been latent in my mind for quite some time. These ideas range far and wide, usually stemming from my past or current activities in music, art and science, design and architecture. Always, in creating a piece of Visual Music, my aim is to share and communicate my idea through a process which combines moving visual imagery with musical performance, usually on solo clarinet.
My Visual Music pieces have relevance at more than one level of interest and understanding; sometimes, they are primarily musical; at other times, my aim is to tackle a difficult subject or to put forward a controversial point-of-view.