From: Myron Ort (email suppressed)
Date: Thu Oct 09 2008 - 10:14:46 PDT
Has this article been referenced?
http://www.horschamp.qc.ca/new_offscreen/silent_legacy.html
One thing I have noticed in my own hand painted film work (as well as
others) is that the regular (mechanical) (inescapable) underlying
pulse (usually in the realm of ~16-24 fps) leads my perceptions
toward an analog of African based (poly)rhythmic musical systems.
This pulse makes film somewhat antithetical to the time qualities
explored in many other types of music (like Western Classical) which
lives and breathes with the conductor so to speak. A projector is
not unlike the chugging motor that Marshall Stearns mentions at the
beginning of "The Story Of Jazz" with the African natives dancing
around.
Masking this pulse is only illusory.
Myron Ort
> Greetings everyone,
>
> I've been lurking on-list for quite some time and have enjoyed the
> discussion(s).
> This message got caught in some list filters - I hope it is still
> timely... (and sorry in advance if it gets posted twice!)
>
> The "Visual Music" question is an excellent one and echoes some
> things I have been working through in a course I am teaching at
> SAIC and in my own realtime audio/video praxis.
>
> Music is sound, sound consists of frequencies we perceive with our
> ears or feel with our bodies. I am beginning to warm up to the term
> "Visual Music" and think it's apt, en lieu of the fact that the
> visual component of these works consist of light; a frequency we
> perceive with our eyes.
>
> Representing the interpolation of one's visual and auditory
> perceptual systems within the framework of music and time (ala'
> moving visual thinking) creates an interesting platform to look at
> Brakhage, Belson, Fischinger, the Whitneys, etc. as VJ's.
>
> I don't have enough time right now to hash out text concerning my
> own hang-ups on the notion of "the VJ," regardless, there is the
> thread of "realtime." Though many of the works by the artists we
> are talking about took months to create (non-realtime), one could
> argue that they are experienced in "realtime" in the same way music
> is experienced and reacted to from micro-moment to moment.
>
> As for another term, maybe I would vote for "Cybernetic Experiments
> in the Perception of Frequency..."
> : )
>
> - jon.satrom
>
>
> On Oct 7, 2008, at 3:18 PM, Larry Cuba wrote:
>> Is the problem with the term "Visual Music" itself? Although not a
>> particularly strong term, it seems to have become the defacto
>> label for all works created primarily as a form of visual art
>> comparable to (and in conjunction with) the art of music.
>>
>> Or you don't think that experimental filmmakers like Belson,
>> Fischinger, Vanderbeek, (also the Whitneys,
>> Lye, and McLaren) belong in this category that now also seems to
>> include several generations of music videos
>> and VJs?
>>
>>
>> ---Larry Cuba
>> The iotaCenter
>> www.iotacenter.org
>>
>>
>>
>> __________________________________________________________________
>> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
>>>>
> __________________________________________________________________
> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
>
>
__________________________________________________________________
For info on FrameWorks, contact Pip Chodorov at <email suppressed>.