This video is part of the photographic series Equilibres (A Quiet Afternoon) developed between 1984-86 born of the two artists’ fascination with states of imminent collapse. In 1985, they began to stage a cinematic sequence based on the endless chain reaction. The impression of continuous movement is in fact an illusion: the video consists of several distinct shots filmed over a period of two years, with sound effects added in post-production.

A singular work, this serious project elaborated on the principle of causality is accompanied by a burlesque game. The succession of states of equilibrium of the ordinary and heterogeneous objects in the studio of the two artists – true actors of the film – produces a spectacular dramaturgy and an unexpected poetry. The event is played out in a transfer of kinetic energy and an almost hypnotic tension. It is a look at the things of life that leaves no one indifferent. Their precarious and balanced presence seems however to be guaranteed by the movement itself. As in their photographic practice, the mechanism (that of a certain alienation) and popular visual culture are at the heart of their demonstration. This film is a real « lesson » of cinema, a paving stone of humor in the field of art.

Botborg is an international audio-visual performance group whose work focuses on creating intense synesthetic experiences of sound and color in real time. The Photosonicneurokineasthograph (or PSNKG) is the name Botborg gave to the meta-instrument used to conduct their audio and video experiments.

In « Connection of the Photosonicneurokinaesthograph », experienced operators Kushima, Musgrove, and Sinclair lead the viewer to several extremes of Botborg’s audiovisual universe. Incredibly detailed floating textures lead to loud explosions of color blocks, synchronized with soothing, unsteady sounds in perfect harmony with their unique signal concept. The last part of the film is a gradual build-up of pulsating white light and colored strobe light to a violent climax, which persists until it bursts into a swirl of soothing drones and slowly moving textures. 

This film is not recommended for viewers prone to photosensitive epileptic seizures.

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« aUTOPORTRAIT » is a video whose characteristics are the transformation of a form (image, photograph, portrait or landscape) into a sound sculpture in movement; but also the reinterpretation of this image… in the (temporal) domain of video.
The process was to translate in a first time, an image in the ASCII standard (American Standard Code for Information Interchange) in a sequence of 12369 characters, with the aim of making read in a second time, this line of code by a software of vocal synthesis.
The third transformation was the morphing of this line of code maintained vocally in a virtual space using a doppler.
The video is a correlative support to the music (12369 characters) which is inscribed in filigree, in a deliberately not spectacular development.

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A long sequence shot represents an urban structure, doubled with a mirror effect. In this video, only the floating architectures are visible: this creates a landscape that seems real and impossible at the same time.

An accumulation of 180 different perspectives of a bank building. Each perspective is equivalent to an image. At first it is chaos, then systems of visual organization develop. The sound consists of a sentence: « Our power is limitless and our means are inexhaustible. The editing is a game on the relationship between words and images and produces different meanings by breaking the succession of words.

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The glance addressed to the camera testifies to the awareness that there is, in front of the generated images, someone who also looks. (Siegfried A. Fruhauf)

« Kinan di leid wider bled schaun heid / kinan di leid wider bled schaun. »* It is a repetitive mantra-like distich that constitutes the textual framework of bled, a piece by the band Attwenger. (…) Starting with a portrait of a man (the director himself) whose head slowly turns towards the observer, Siegfried A. Fruhauf undertakes a series of transformations: dissolving the filmed image into its own grain, digital hatching or self-reflection effects and, finally, a treatment in a style that evokes drawing and a pasty painting executed with a knife. If appropriately distorted, every form of stupidity also has its limits. (Christian Höller)

* It’s crazy how stupid people can look today / it’s crazy, how stupid people can look)

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Media : daily photographs of the sun taken by Nasa, images (Nasa) of a coronary explosion, optical sound, analog recording, musical montage from a drum solo by Ben Riley in 1964.

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A film version of the installation « While Being Here » made by Makino Takashi and Ryota Aoyagi. The emotion I feel when I hear the phrase « While Being Here ». I found many stories of life and death, which felt like both moments and eternity.

Music : Colleen.

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A blue disc under the influence. 

Made with Telidon, a Canadian videotex system used in the 80s. Although primarily intended to convey textual and illustrative information, this system has been used by several Canadian artists as a tool for graphic or videographic artistic creation. These films have the rudimentary and primitive charm of the beginning of the digital image era.

#blckdeafaganger

#TheBLACKRevolutionwillbeDEAFinitelyLOUD

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Iris attacks, a light source that becomes incandescent, colors that change one by one. A blur that turns and clicks, after forming an intense explosion of wild patterns that collapse, and again contracting into distant shadows in the heart of a nebula. An algorithmic dance; a shapeless stripe, a wound, an abrasion of space; a universe smeared in all dimensions in a network of engraved lines. 

The film comprises a series of works documenting audio-visual interactions intended to be viewed in a 3D space. Each film portrays the creation, propagation, and destruction of a separate digital cosmos where objects dance and sing in a disturbed synesthesia. Materials were recorded in real time. 

Note: There is a 3D and 2D version of this film. 

This video was made with the help of Lab Gamerz, Aix-en-Provence, France

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