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UID:2232935:Event:44031
DTSTAMP:20260405T143714Z
SUMMARY:Playtime
DESCRIPTION:Clip, Klapp, Bum - New forms of visual music\nThe \"thing 
 with picture and sound\" as I often get to call it myself, interests m
 e as a spectator and as a curator since many years. And it literally h
 aunts artists – filmmakers, musicians etc. - as well as technicians 
 and physics all over the world since ages. The \"thing with sound and 
 picture\" is hard to categorize, and hard to define, it is not only mu
 sic video it is not only visual music, it is not only visuals in a clu
 b or a dance performance on or off stage. It moves between a felt syna
 esthesia and a technical or mathematical preciseness and can be a lots
  of things in between. For this program I am focusing on music video a
 nd its possibilities to be visual music and create picture from sound 
 – or sound from the picture, and this can only be a hypothesis itsel
 f.\nCLIP, KLAPP, BUM – the title is taken from Peter Weibel and Veru
 schka Bódys book on music video from 1987, where they were trying to 
 explore the music video and draw a line between the commercial and the
  artistic video. I see the title as a reference to their thoughts – 
 but the title is much more than this. I see it already as a form of vi
 sualisation of sound – a sound that was translated into letters: an 
 onomatopoeic title, which imitates the sound it denotes. In the progra
 m I was trying to focus on visualisations of music from the last years
 , an there is a very wide range of different approaches to be discover
 ed – which proves that the topic doesn't stop to interest artists â€
 “ talking about the selection – especially animation artists. Of cou
 rse Visualisation of music in Animation is to be seen in a special way
  also because it follows a long tradition itself. The music video is s
 till alive despite it's so-called death, after MTV couldn't be called 
 music Television any more. It is more than alive on the internet, in c
 lubs and also at Film Festivals that tend to see the artistic vision b
 ehind the video – beyond the advertising character.\nSo why animated
  music video? When going back to the beginnings, of course one would s
 tart from Len Lye, Ruttmann and Fischinger while trying to explain the
  roots of visual music. There are indeed two videos / films in this pr
 ogram that can be seen in this tradition: Steven Woloshen's Playtime r
 eminding early Norman McLaren and Len Lye works in direct film. And th
 e second  –  a students work: Jean-Patrice Blancs Trois, Quatre, w
 hich is as structural and geometric as a Fischinger or Ruttmann piece.
  Beyond the historical meaning of animation and visual music – there
  is another reason why I see some of the best examples of visualisatio
 n of sound in picture in animation. Animation is one of the arts that 
 can play with imagination (almost) without borders – therefore can g
 et as close as no other media to a feeling of synaesthesia – one of 
 the goals of visualizing music. Many artists in this field are doing m
 ulti-sensory experiments, that attempt to convey the synaesthetic expe
 rience.\n\nFor more information visit https://visualmusic.ning.com/eve
 nts/playtime
DTSTART:20120503T070000Z
DTEND:20120507T065900Z
CATEGORIES:screening
LOCATION:cinematheque Quebecoise
WEBSITE:http://www.cinematheque.qc.ca/en/programmation/projections/cyc
 le/elektra-2012
URL:http://www.cinematheque.qc.ca/en/programmation/projections/cycle/e
 lektra-2012
CONTACT:
ORGANIZER:cinematheque Quebeciose
ATTACH;FMTTYPE="image/jpeg":http://storage.ning.com/topology/rest/1.0/
 file/get/2011976782?profile=original
ATTENDEE;ROLE=REQ-PARTICIPANT;PARTSTAT=ACCEPTED;RSVP=TRUE;CN="Steven W
 oloshen":https://visualmusic.ning.com/profile/StevenWoloshen
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