Blog Post: Eye Writer

admin — Thu, 19 Aug 2010 14:45:02 +0000

From thesystemis, the flame in the fire, the eye in the writer, from downtown LA to the bed of the hospital, this story tells you how is really done here in the writer’s mind. With the technology of simplistic DIY device, now allow this graffiti writer a story to continue, touching video documentary of this true Asian hero.

The Eyewriter from Evan Roth on Vimeo.

LEFTFIELD VJ Oli Sorenson - The Making of 2010 World Tour

admin — Fri, 06 Aug 2010 16:04:23 +0000

The day when VJ Anyone talking about his preparation for Leftfield 2010 World Tour. VJ Anyone aka Oli Sorenson, a Canadian Living in UK for over 10 years. Have recently established Ne1co.co.uk

Interview Olga Mink and Robin Rimbaud aka Scanner

admin — Sun, 25 Jul 2010 18:48:19 +0000

Olga Mink [OM] is an media artist from Netherlands. She works in colorscape, imagery of the natural and the sublime, sometimes realistic and protagonist: beautiful to watch when she is in performance.

Scanner - Robin Rimbaud [RR], an audiophile and a electronic music producer, circulate the art scene and years of performancing live electronic sound. You can find him in griddy parts of London or seeing him performing the electronic and experimental sound art in Museum and clubs across the globe. He is also a professor at the University of Le Fresnoy, France.

1. What was your calling between the 90’s when you started your career? Did it all started in the clubs?

OM: I was still studying Animation Design and mostly interested in independent cultures; rather then club cultures.

I explored the aspects of performing live visuals as well as making installation art. I took all kinds of opportunities to show my work, which included in some clubs. The blurring of the boundaries between performances and installation art intrigues me. The same as displaying my work in different kinds of places such as factories, public space, cinema, museum, galleries, etc.

RR: My career has been a constantly shifting adventure, rarely touching down in clubs. It began in dark dusty rock clubs and private spaces, moved into a variety of museums, cinemas, theatres and clubs. There but continued to surprise me even today. Certainly the UK club scene in the early 1990s was pivotal in the embracing of all kinds of music, so the Chill Out rooms would play all manner of wild and wonderful tunes, mine included.

2. I noticed you both been very active in different parts of the world, when was the calling for audio/visual experimental projects?

OM: I just drifted towards this, following my gut feeling and curiosity. All you can do is tune-in to take the opportunities you get. I have been pro active in various platforms on the internet for example, working with Scanner started after a film project in Amsterdam. He then invited me for a masterclass in Eindhoven. That’s when things went wrong and we started with the idea to collaborate together. His music inspired me to explore a new cinematic language to connect with his sounds.

RR: My work is a very global experience. As I type this I have just returned from Sao Paulo Brazil where I was presenting my work, am currently working in Le Fresnoy France as Professor Scanner and will be out in The Netherlands in the next week to focus on another public art project. The relationship of the audio/visual has always been strong. I am someone who visits far more visual arts oriented spaces, galleries, and so on, in comparison to music shows. When you find a collaborator that you respect and enjoy the company of, as with Olga, then it’s a pleasure and a reward to create work with them too on different projects in alternative spaces.

3. Did education have you trained in your careers? Was it built upon training or was it learnt from anyone? Who are they?

OM: I studied Art and did a Post graduate studies at the Sandberg Institute in Amsterdam. What education allows you to experiment, and to catalyze your ideas. Yet the real life begins after that. I mostly learned from trial and error and by collaborating with others. Working with Scanner has been a pleasant experience since he is easy going and open minded. His sense of humor is very British and is very contagious.

RR: I studied English Literature at University so no direct musical or creative training at all. Suppose I attended the University of Life. Much of what I have learnt has been from hands on experience, since computer technology only really made an appearance after I had left higher education.

4. What is the most influencing point in your work? Especially when you are collaborating on projects and performances? Each other perhaps?

OM: The Nature of Being (above) is quite an impressionistic piece of work. It is a reflection on how the world can be perceived and to evoke an emotional response through the world around us. We wanted to present a counterpoint to many computer artworks nowadays, which often is very abstract. This idea we also translated into our next project Atlantida (below), a commissioned artwork for the 2nd Biennal of the Canarian Islands. But instead, we interpretated ‘nature’ as our protagonist. The overwhelming landscape was our storyteller navigating us through a journey of silence and intervention.

RR: Projects always begins with conversation and ideas and so clearly the approach and thoughts of your creative partner play a key role in the development of a work of art. Olga and I have had very inspiring and encouraging in-depth discussions around subjects we are interested in for work, and also clearly enjoy each others company, so we can equally go shopping for clothes and enjoy that.

5. Do any of you have children, and how education can help children to understand these medium of audio/visuals.

OM: I have a three year old son and he loves filming with my I phone!;-). Next to my art practice, I work as a consultant in art education writing programs on media art - Education in creative technology is important because children need to learn to overpower the ‘medium’. The ‘digitally born’ will easily apply new skills, yet need to learn the actual impact of media and technology on our life. It’s an exciting job, since technology is still evolving and changing our world rapidly. I am also working as a coach with Graduate Art students in Creative Technology at St Joost, in Breda.

RR: I have little experience with children, outside of composing the score to the children’s musical Kirikou et Karaba in France in 2007. Having said that I’ve played a keen role in setting up a graduate degree in sonic art in Portsmouth University in the UK and frequently speak of my work at different universities and colleges around the world. I am also Visiting Professor Scanner at Le Fresnoy (http://www.lefresnoy.net/)

6. Both you have been documented widely, although how difficult you think your works can be modified to be presented to more audiences, is it workshop, talk or actual live performances?

OM:Yes, my work has been presented in all of the formats as mentioned above. We will release our work on Lightrhythmvisuals in the nearby future and currently researching which format fits the best for our release.

RR:Much of our work is dependent upon the individuals involved so it cannot really occur or be shown without us present, unless it were just a simple DVD screening. I enjoy the fact that it can be experienced in so many different ways, to new audiences in theatres or cinemas, to those who might not ordinarily have the opportunity of sharing in this form of audio/visual collaboration. Olga and I have always been keen that our work communicates on a very direct emotional level too so is not lost in the technology, that must remain transparent.

DJ Spooky At TATE Modern London 2010

admin — Tue, 22 Jun 2010 07:05:39 +0000

Celebrate 10 years of Tate Modern at a free arts festival for all from 14–16 May. The video is a reference to the film sound score of The Secret Song - Dj Spooky’s latest album.

…isnʼt really an album: itʼs a manifesto about the place of history in our modern collaged, scrambled, sampla-delic to the core, mega info overloaded digital culture. With references stretching from Thorstein Veblenʼs “Theory of the Leisure Class” and John Maynard Keynes classic in the ﬁeld of economics “The General Theory of Employment, Interest, and Money” over to hip hopʼs relationship to psychoanalysis and a la Edward Bernayʼs concept of the “manufacture of consent”

His method of scratch technics with his now iphone/ipad apps, he has made the scratching a part of the nova technica in turn-tabletistic cool again. Just wish he has a bigger ipad!

Atom remix

admin — Mon, 22 Feb 2010 06:28:01 +0000

Visualist / Visualist ™

admin — Wed, 16 Dec 2009 04:10:05 +0000

An interview that bought to you by Jimmy Howe @ nonlineari in collaboration with LRV-FR/TKO

Shantell Martin @ MGFEST09 DC

admin — Wed, 02 Dec 2009 07:26:45 +0000

Recent work by Shantell Martin since arrived in the US. The Motion Graphic Festival 2009 http://www.mgfest.com/. Other recent published article on her. http://www.psfk.com/tag/shantell-martin

Ben Sheppee Intro after NY in Visualist™ -LRV

admin — Tue, 10 Nov 2009 08:22:42 +0000

LightRhythmVisuals@Clockenflap-Alexis Taylor

admin — Sun, 08 Nov 2009 16:20:50 +0000

Blog Post:Burton The new B-Basic Teaser

admin — Wed, 21 Oct 2009 09:11:55 +0000

Click here to view the embedded video.

non.lineari.nformation™ Visual & Design