The Visual Music Village

for Visual Music Artists, Writers, and Venues

When, in 2008, I heard Jean-Philippe Collard-Neven play his transcription for tape and piano of Steve Reich's "NY Counterpoint"(originally written for 11 clarinets, one live, 10 pre-recorded), I immediately knew I wanted to work with him, and to make a film with/for/from that fabulous music.
I managed to make contact with Jean-Philippe and he kindly agreed to give it a go, and together we have since made a collection of other films and live concerts: http://vimeo.com/tag:jean-philippecollard-neven and
http://www.vudici.net/movies/Transe_Demo/Transe_languages.html
As for the images, I could say that I tried to "follow" the same process Steve Reich followed, but that would be only partially true, if not very pretentious.
However, the fascinating issue of repeating elements which are similar-yet-different is one that has been central to my work for very long, and the mastery of Steve Reich in that regard is supreme.
Should the composer/visual artist "just" let the listeners'/viewers' perception provide the "augmenting," or should he/she slightly modify each repetition so as to provide a sensible exaggeration of that "similar-yet-different" quality?
However, as with most of my work and this, already long before entering the digital realm, I try to place myself in as "naïve" a posture as I can manage and sustain, "just listening" when working with/for/from music, as I was trying to be "just seeing" when still using natural media and working "from the visible" (examples here http://www.vudici.net/awn/awn_natural_media_th.html).
Evidence of "smarts" and "intentional doing" increasingly bore me, in others' as well as in my work, the "conceptual" approach has shown its limits, I feel we need to renew a more direct contact with our own mystery, to return to our senses, to "cater to the appearing as it appears."

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