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Video by James Houston. A collection of old redundant hardware placed in a situation where they’re trying their best to do something that they’re not exactly designed to do:

Sinclair ZX Spectrum – Guitars (rhythm & lead)
Epson LX-81 Dot Matrix Printer – Drums
HP Scanjet 3c – Bass Guitar
Hard Drive array – Act as a collection of bad speakers – Vocals & FX

James Houston about his project:

“I’ve just graduated from the Glasgow School of Art’s graphic design course. This was my final project.
Radiohead held an online contest to remix “Nude” from their album – “In Rainbows”.

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An ode for an animation selected from MOME festival wich is called Deux ex Machina. Also mixed with some cuts from the animation A Little Atomic Bomb.

Visual mix by Mister X.

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Adam Long directed and animated this short movie based on illustrations by Tom Keating and on a poem by Charles Bukowski.

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Crosstalk Credits:
Elektric Music – Main Performer
Emil Schult – Art Direction
John Cafferty – Engineer
Karl Bartos – Producer
Stefan Ingmann – Mixing
Volker Koepke – Photography

The electronic pop music group Elektric Music was founded by Karl Bartos (former member of Kraftwerk) and Lothar Manteuffel (former member of Rheingold) in 1992. “Crosstalk” was co-written with Kraftwerk collaborator Emil Schult, who also created the graphics for early Elektric Music releases.

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“Living stereo” by Brian Mackern, is presenting 2 ways of using, seeing and hearing things in which digital processes are involved, this CD-ROM’s main interface reflects fragments of 1958 film Introducing Stereophonic Phonograph Records by Handy (Jam) Organization. There are two main sections (left and right, ying and yang, 0 and 1): SoundCode.Sketches and cinema.tik each linking to different sets of soundtoys (simple and playful soundvisual interfaces and remixers) that reflect two ways of interacting/reacting with code and digital processes tight linked to sound and visuals. The SoundCode.Sketches chapter shows soundtoys in which the process of the codes are tight linked to visuals. As the user navigates the soundtoys, the visuals reflects the nakedness of code. cinema.tik chapter shows these same processes but “skinned” by loops/fragments of iconographic films tightly linked to the artist “history” as culture consumer. The codes used are readaptations of code found on the internet designed for other uses (physics spatialization, formulae representations, etc). Thus three approaches / levels of remixing are involved: soundvisual / interface, code, culture.

In this clip the loops are from The Love Flower (1920) by D.W. Griffith.

More info here: http://no-content.net/lst/

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Digital clips on electroacustic music inspirated by Pierre Schaeffer work.
By Ricard Carbonell.

More infos about Ricard Carbonell at ricardcarbonell.com

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Poème électronique, composed in 1958 by Edgard Varèse, is the first, electronic-spatial environment to combine architecture, film, light and music to a total experience made to functions in time and space. Under the direction of Le Corbusier, Iannis Xenakis’ concept and geometry designed the World’s Fair exhibition space adhering to mathematical functions. This rapid fire delivery is something modern audiences are used to through media theese days, but in 1958 no one had ever seen anything like this. The visual presentation consisted of seven sections:
– Genesis – images of colored light, a bull, a matador, the head of a Greek statue, a film of a woman smiling, then recoiling in terror, a skull.
– Matter and Spirit – rapid-fire image projections of sea shells, scientists, the skull, an African woman, colored lights, a dinosaur skeleton, a film of a monkey apparently in thought.
– From Darkness to Dawn – eyes and heads of various animals and people. An owl’s head, a turkey head, a woman’s face, tribal sculptures of heads, open trench graves from concentration camps, toy soldiers, tanks, cowboys and Indians, guns, medieval sculptures of religions imagery, a Buddha.
– Manmade Gods – a variety of colored lights, stone head from Easter Island, geometric figures, the Sphinx.
– How Time Molds Civilization – industry and power – an atomic plant, crowds, a telescope operator, a surgeon, miner, cement workers, a farm horse, Charlie Chaplin, a bomber plane, a rocket, a radar antenna, clouds, mushroom clouds, children staring at the camera.
– Harmony – the Eiffel Tower, early photographs of people and animals, machine parts, Chaplin again, Laurel and Hardy, abstract shapes, astronomical images, two lovers in an embrace, babies.
– To All Mankind – skyscrapers, architectural plans, city models, the Modulor, a baby’s hand, children, an old woman, people at a dinner table, a man sleeping in the street, a dirt road, a baby again.
Before starting the project, Le Corbusier specified that no attempt would be made to synchronize the visuals with the music.

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Ballet Mécanique is a Dadaist film directed by Fernand Léger and Dudley Murphy with cinematography by Man Ray. The film premiered on 24 September 1924 in Vienna presented by Frederick Kiesler, later a world-famous architect. Meanwhile, Antheil’s music for Ballet Mécanique became a concert piece, premiered by Antheil himself in Paris in 1926. Although the film was intended to use Antheil’s score as a soundtrack, the two parts were not brought together until the 1990s.

In this film, Fernand Léger does some stop-action animation with a cut-out puppet that crudely resembles Chaplin’s Little Tramp character. This must have been somewhat confusing for French and Belgian audiences in 1924. In its original release, this film’s French title was “Charlot présente le ballet mécanique” … referring to showman Andre Charlot, who financed this film’s French distribution. But in France, Chaplin’s Little Tramp character was also known as Charlot … so the presence of that puppet in this movie must have seemed a cheat: an attempt to advertise a ‘Chaplin’ movie that doesn’t actually have Chaplin in it.

This is the first movie without scenario.

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White Space was created as a variation on the theme of Creation. The work uses the Creation story of Adam as a guide (“formed man from the dust of the ground”). A human head appears as animated ‘dust’ as it emerges from and descends into a chalky white pool. While the non-narrative short film can viewed as the original “man” being created by God, there are also references to science-fiction and the head takes on a ghostly ethereal quality…like an alien being from another planet. Influences of David Lynch as well as the repetitious music of minimalist composers Philip Glass and Steve Reich can also be seen. In addition to directing the video, Jym Davis also appears in the work.


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XsoUnd follows the trials and tribulations of one frustrated mouse-boy looking to find solace and harmony in the infinite sounds of ultra-multi-genre music. Unable to find a connection in the real world he creates a group of fluorescent-coloured, rainbow plastic mannequins to share his experiences with. This gutter-dark/technicolour journey carries him through the spectrums of sounds and sights where he remains distracted in limbo… until one day a mouse-girl enters his life…

‘There is a way that nature speaks, that land speaks. Most of the time we are simply not patient enough, quiet enough, to pay attention to the story.’

A project by UpperCUT & Mister X