Archive of ‘Artists on RAFLOST 2011’ category

Sigrún Harðardóttir

Gaia in action.
This work is Juxtaposition of shots from the volcanic eruption on Fimmvörðuháls Iceland from april 4th 2010. Here the creativity of Gaia (Mother earth) is in the center, drawing attention to the painterly quality of the imagery from the crater of the volcano as it was an gigantic action painting.

Sigrún Harðardóttir studied at the Icelandic School of Art and Crafts and at the State Academy of Fine Arts, in Amsterdam. Sigrún also holds a Masters of Arts in Communication/multimedia studies from University of Quebec in Montreal. Sigrún has shown her works for over 2 decades in Iceland as well as in Canada, USA, The Netherlands, Germany and in Denmark. Her works can be found in the Art Museum of Iceland, The Art Museum of Kópavogur, The Netherlands Media Art Institute, The National Bank of Iceland, The Reykjavík Energy Corporation and at The Sudurnes Regional Heating Corporation.
For decade the surface activity of a geothermal site has been a source of inspiration for Sigrún which she has captured in paintings as well as in video- and video/sound installations.

Dennis H. Miller

Echoing Spaces (2009) is an nine-minute composition for single-channel video and stereo audio. The work explores a number of virtual environments in which the primary elements recur (echo) both in immediate succession and at different times throughout the piece, always in varied form. The visual imagery employs a number of similarly shaped elements that appear in overlapping, morphing configurations, and the restricted color palette helps maintain a focus on the primary objects. The music of Echoing Shapes was created using a variety of modern techniques including convolution and physical modeling. The quasi-tonal context adds an additional layer of continuity to the work.


Dennis Miller is currently on the faculty of Northeastern University in Boston where he teaches courses in electronic music and mixed-media composition.  Miller is the founder and artistic director of the Visual Music Marathon (www.2009vmm.neu.edu), an ongoing program that includes screenings of works by filmmakers from around the world. His music and artworks are available at www.dennismiller.neu.edu.

Ninna Þórarinsdóttir

Ninna Thorarinsdottir is a designer from Akureyri currently living and working in Reykjavik as a graphic designer and illustrator. Graduated with a BA from the Design Academy Eindhoven in 2006. Since her graduation project (Limbus) she has continued working on body sculptures, combining fashion with technology. Making the form around the body and around the function, if it is changing colors, form or sounds. Here she is showing a part of her collection “Fellings“. Dancing dresses and Multi colored film dresses. www.ninna.eu/

Björk Viggósdóttir/Þorbjörn G. Kolbrúnarson

Reverse Memories

Memories mediate between images and sounds. Old experiences are abstracted to create new. Memory becomes reality.
In her general practice Björk Viggósdóttir deals with visual images, emotions, sounds and sensations in a similar way to what occurs involuntarily in the mind during certain stages of live, whether in dream or at wake. Björk works with colors, emotions, signs and other things from the everyday, which she brings to other dimensions by creating for them new perspectives and settings. In her art Björk likes to encourage her audience to use all their senses for viewing her work by using combinations of different media in her works.

Þorbjörn G. Kolbrúnarson graduated from the Icelandic Academy of the Arts in 2010 with a degree in Composition. He works in varied fields, collaborating  with dancers, visual artists and other musicians. Along with his own compositions he has composed music for computer games, films, dance and installations.

Jesper Pedersen

Brautarholt Rímix (2011)

Audio, video and candy

The piece is created with support from the Danish Arts Foundation.

Performance: Katie Buckley

www.slatur.is/jesper


Hallvarður Ásgeirsson/Áslaug Gunnlaugsdóttir

Áslaug sings


Áslaug is autistic woman living in Hólaberg in Breiðholt. Shesings a lot, especially in the evening, and loves music and going toconcerts. I recorded samples of her, and cut pieces together.

Hallvarður Ásgeirsson is born in 1976 lives in Reykjavik. He hasstudied at the Icelandic Academy of the Arts and graduated with a BAin composition / new media. After that he went to Brooklyn College inNew York where he earnedM. Mus in composition. He has played in numerous bands, includingSkyboxx, Skmendanikka, Fengjastrútur, and Stórsveit Nix Noltes. Hiselectronic works have been performed at the International ElectroAcoustic Music Festival atBrooklyn College, and he has composed and performed music formechanical musical instruments as partLEMUR (League of Electronic Musical Urban Robots) Residency inFebruary 2008. Compositions for the theatre production Mika that hewrote with the band Catal Hüyük was performed at the United Nations inNovember 2008, as part of a the campaign Unite to End Violence AgainstWomen which was created by the UN Secretary General Ban Ki-Moon.

Áki Ásgeirsson

294° for Halldorophone and mixed tuba/trombone.

Performed by Ingi Garðar Erlendsson and Sandra Snæbjörnsdóttir.

www.slatur.is/aki

Madelyn Byrne/Lily Glass

Arrival
Madelyn Byrne, composer Lily Glass, video artist
In this piece travel serves as a metaphor for self-discovery, or its opposite – distraction. The sounds of travel and introspection – including traffic, trains, planes, breath, rain, and voice – are juxtaposed and eventually integrated. This piece explores the ongoing and multifaceted process of self-discovery and living with integrity. The song-like theme of Arrival is explored in four sections. Section A is introspective, section B makes use of homeland security announcements as a metaphor for manufactured fear, C is a peaceful resolution to the previous sections, and D is an optimistic projection forward.


Madelyn Byrne is an active composer whose work frequently combines acoustic instruments with computer-generated sounds. Some  compositions in this area include For ANWR (commissioned by Yoon Jeong Heo), Rain, Sea, and Sky (commissioned by the NOISE Ensemble), and Dream Tableaux (commissioned by Colin McAllister). Past honors include ASCAPlus Awards, honorable mention in the “Suoni di Legno” competition, winner of the Friends and Enemies of New Music Composition Competition, and recordings on CRI (New World), Innova, and Everglade Records.  Madelyn’s music has also been selected for a wide range of new music festivals and she been a guest composer at Columbia University’s Computer Music Center. Madelyn is currently on the faculty of Palomar College. http://www.madelynbyrne.com/

Aldo Rodriguez

La vida en un Suspiro – Life in a Sigh
This work is a visual point of view about life and about living in the northwest of Mexico where the drug dealers rules the way of life of many citizens. Death, Violence, Weapons, Murderers cause only a deepest fear in many people, wishing not to be in the wrong place and time.
Life in a Sigh is  our life as a continuum flux and all the fragility in it and the events who can cut it out our existence.
Created using – Processing, Particles Generator and Max/MSP
La vida en un Suspiro – Life in a Sigh
This work is a visual point of view about life and about living in the northwest of Mexico where the drug dealers rules the way of life of many citizens. Death, Violence, Weapons, Murderers cause only a deepest fear in many people, wishing not to be in the wrong place and time.
Life in a Sigh is  our life as a continuum flux and all the fragility in it and the events who can cut it out our existence.
Created using – Processing, Particles Generator and Max/MSP
Aldo Rodríguez
Aldo Rodríguez. Been born in Culiacán, Sinaloa in 1966. His life has been the music: composer and investigator of rare fields of the musicotecnology.
It works in the AUTONOMOUS UNIVERSITY OF SINALOA from 1984, and in Radio University from 1985.
Nominated for the award Sinaloa of Sciences and Arts 1991 and deserving of distinguished awards and reknowledge for his work in the ambience composicional, it has been awarded as Creator with Trajectory for the FONCA/FOECA in composition 1995 for his work Form of Viajar/1999 for Métropolis/2002 with Dances Apócrifas/2005 with Vox Feminae, It is gone away of the career of Guitar on the part of the School of Music of the Autonomous University of Sinaloa in 1988, it has realized studies in composition with prestigious national and foreign compositors, between which desatacan Radko Tichavsky, Sergio Villarreal, Gregory Taylor, Philippe Manoury, between others. It has studied numerous courses of specialization in the IRCAM since 1999.
At present he is a member of Ircam’s Forum, a composers’ grouping of the whole world that applies discharge technlogy to the musical creation. His music has appeared in important festivals of electroacustics in the world, emphasizing Festival Predicts, Paris, Latin American of Electroacústica and Visual in Paris, Sonoimágenes, Buenos Aires, ICMC07, Copenaghe, Musically, Lisbon, Sonic Visions, Mexico between others.
His music has been interpreted for: Assemble Temp-Espatial, Assemble Mobile Art of Mexico and national and foreign soloists between whom there stand out the oboist Plamen Petkov, the pianist Rodolfo Ponce Montero, the flautists Roberto Morales and Eduardo González, the clarinettist Isidro Muñetón, the soprano Patricia Valdéz, the guitarist Tawally Prado, the Extreme Quartet, Psappha Ensamble of Percussions, the Orchestra Nicolaíta and the Symphonic Sinaloa of the Arts.
The interpretation of 5 Apocryphal Dances for ensamble and electronic in real-time with the Sinaloa of the Arts. Being the first work electroacústica for big assemble presented in Sinaloa. This work was presented in the Palace of Fine arts, (Mexico city) in the frame of the celebrations of 70 Anniversary of the above mentioned enclosure with the Sinaloa of the Arts under the guidance of Gordon Campbell.
He is a member of the Mexican Society of New Music and of the Center of Musical Multimedia Investigation and of the Forum of the IRCAM.
He is a pioneer of the music electroacústic in the northwest of Mexico since 1987. At present it develops interactive systems using technologies motion capture, Algorithmic Languages and DSP with video in real-time for his compositions and concerts.
He deserves the Winner Prize of the Biennial one of Visual Arts of the Northwest with his interactive video Life in a Sigh, being the first visual composer / artist in SInaloa in obtaining such a distrinción
His last audio-visual installations – Insects, The gosths do not cry, Autoportrait will be presented in museums and galleries across in Mexico, the United States, Spain and France during 2010 and 2011.
The most recent part of his work was compiled in an entitled CD – Electroacústic and Other Machines, produced by the Institute of Culture Culiacan, The CCDCMC, ISIC and CONACULTA.
He is considered to be like the most important composer of his generation as well as of the northwest of the country. www.aldorodriguez.com

Lilián Pineda De Ávila/Halldór Heiðar Bjarnason

La Casa Adentro (The House Inside)
La Casa Adentro is an audio-dance installation where the choreography is seen through the ears as an intent of a synesthetic experience for the audience. The dancers were recorded with a Binaural audio technique which allows the sound of the movement to be heard in a spacial way and that places each member of the audience in the center of the choreography at the same time. This recording technique does not require any post-production or special effects.
La Casa Adentro was first shown as a live performance where the dancers were in a room above the audience. In real time it was also heard by people around the world that connected with their headphones to the web page of the piece. This installation has no post-production or special effects.

La Casa Adentro (The House Inside)

La Casa Adentro is an audio-dance installation where the choreography is seen through the ears as an intent of a synesthetic experience for the audience. The dancers were recorded with a Binaural audio technique which allows the sound of the movement to be heard in a spacial way and that places each member of the audience in the center of the choreography at the same time. This recording technique does not require any post-production or special effects.

La Casa Adentro

La Casa Adentro was first shown as a live performance where the dancers were in a room above the audience. In real time it was also heard by people around the world that connected with their headphones to the web page of the piece. This installation has no post-production or special effects.

Lilián Pineda De Ávila/Halldór Heiðar Bjarnason/Areli Marmolejo

Destriplamiento
This video-dance project started in 2009 with a funding from the National Funds for Culture and Arts of Mexico. It is filmed in Mexico and inspired by the last words that the Argentinian poet Alejandra Pizarnik wrote before committing suicide.
After a process of nearly 2 years the project is finished in March of 2011. ‘Destriplamiento’ is a word invented by the poet that was interpreted in the process of making this video-dance as “unfolded three ways and stripped at the same time”.
Lilian and Halldor started the Kora: Espacios Indeterminados production project in 2008 in Mexico. This project is interested in approaching choreography through its relationship with other media and with diverse disciplines. Lilian has studied dance and choreography in Cuba, Mexico, Austria and Holland. She has worked as a tutor, researcher and teacher at the national center of choreographic research in Mexico. Her artistic work has mainly been inspired by the theme of the house and identity. Halldor has studied audio engineering in Iceland and Holland and worked as an audio engineer teacher in the G Martell university in Mexico. He has specialized in Binaural research.

Destriplamiento

This video-dance project started in 2009 with a funding from the National Funds for Culture and Arts of Mexico. It is filmed in Mexico and inspired by the last words that the Argentinian poet Alejandra Pizarnik wrote before committing suicide.

After a process of nearly 2 years the project is finished in March of 2011. ‘Destriplamiento’ is a word invented by the poet that was interpreted in the process of making this video-dance as “unfolded three ways and stripped at the same time”.

Destriplamiento

Lilian and Halldor started the Kora: Espacios Indeterminados production project in 2008 in Mexico. This project is interested in approaching choreography through its relationship with other media and with diverse disciplines. Lilian has studied dance and choreography in Cuba, Mexico, Austria and Holland. She has worked as a tutor, researcher and teacher at the national center of choreographic research in Mexico. Her artistic work has mainly been inspired by the theme of the house and identity. Halldor has studied audio engineering in Iceland and Holland and worked as an audio engineer teacher in the G Martell university in Mexico. He has specialized in Binaural research.

Kristian Larsen/Norm Skipp/leyton

An Aversion to Light [2]
Short experimental dance film collaboration
Experimental film collaboration across contemporary dance, video art and sonic art. Initiated by Kristian Larsen, An Aversion to Light [2] began as an innocent attempt to compose arbitrary dance footage in a way that somehow made sense. From improvised free shots, captured on a borrowed camera in a single room, Kristian and Norm Skipp worked these into shape over an extended dialogue. Kristianʼs long time friend, Leyton, then developed the soundtrack. Although worked on in isolation by each artist, there is a common aesthetic thread that is amplified through this piece.
Kristian Larsen is a New Zealand based choreographer and performer with a vested interest in rigorous methods of improvisation. He intertwines discourses and correlates of European and American influenced post modern dance with contemporary issues emerging from the questioning of contemporary masculine and Pakeha identities. Operating from the self-professed position of belonging to a privileged underclass of Western artists, he merges wry self- commentary with a spectrum of movement materials that are influenced by strands of Forsythean methods, Butoh, martial arts, image work, and stand up comedy. http://throwdisposablechoreography.blogspot.com/
Norm Skipp is a NZ/UK composer/sonic artist, video artist and online editor/compositor based in Manchester. International performances of his video and sound work have taken place in New Zealand, Australia, U.S.A., U.K., France and Canada and as part of festivals such as NextWave, Soliton, Pulsefield, 34th New Zealand International Film Festival 2002, Festival Licences and Synthèse. Norm devotes himself to creating innovative sound and visual compositions in collaboration with a diverse range of artists. http://normanskipp.com/
Dunedin based sound designer/ musician / composer leyton has been active in film, live performance and recording as “Epsilon Blue” and ʻrotor+ʼ. A man of many talents he is well respected in NZʼs music industry having appeared on 34 national and international records as well as remixing Fat Freddyʼs Drop, Salmonella Dub, Pitch Black, HDU and The Clean.

An Aversion to Light [2]

Experimental film collaboration across contemporary dance, video art and sonic art. Initiated by Kristian Larsen, An Aversion to Light [2] began as an innocent attempt to compose arbitrary dance footage in a way that somehow made sense. From improvised free shots, captured on a borrowed camera in a single room, Kristian and Norm Skipp worked these into shape over an extended dialogue. Kristianʼs long time friend, Leyton, then developed the soundtrack. Although worked on in isolation by each artist, there is a common aesthetic thread that is amplified through this piece.

an aversion to light [2]

Kristian Larsen is a New Zealand based choreographer and performer with a vested interest in rigorous methods of improvisation. He intertwines discourses and correlates of European and American influenced post modern dance with contemporary issues emerging from the questioning of contemporary masculine and Pakeha identities. Operating from the self-professed position of belonging to a privileged underclass of Western artists, he merges wry self- commentary with a spectrum of movement materials that are influenced by strands of Forsythean methods, Butoh, martial arts, image work, and stand up comedy. http://throwdisposablechoreography.blogspot.com/

Norm Skipp is a NZ/UK composer/sonic artist, video artist and online editor/compositor based in Manchester. International performances of his video and sound work have taken place in New Zealand, Australia, U.S.A., U.K., France and Canada and as part of festivals such as NextWave, Soliton, Pulsefield, 34th New Zealand International Film Festival 2002, Festival Licences and Synthèse. Norm devotes himself to creating innovative sound and visual compositions in collaboration with a diverse range of artists. http://normanskipp.com/

Dunedin based sound designer/ musician / composer leyton has been active in film, live performance and recording as “Epsilon Blue” and ʻrotor+ʼ. A man of many talents he is well respected in NZʼs music industry having appeared on 34 national and international records as well as remixing Fat Freddyʼs Drop, Salmonella Dub, Pitch Black, HDU and The Clean.

Dennis Miller/Moon Young Ha

Amorphisms for video animation
Amorphisms is a continuously evolving sequence of images that are
unified by means of a recurring color palette. The musical score
imposes an emotive quality onto the images and guides the overall
dramatic curve of the piece.
Dennis Miller received his Doctorate in Music Composition from
Columbia University and is currently on the Music faculty of
Northeastern University in Boston where he heads the Music Technology
program and serves on the Multimedia Studies Steering Committee.  His
mixed media works have been presented at numerous venues throughout
the world, most recently the DeCordova Museum, the New York Digital
Salon Traveling Exhibit, the 2005 Art in Motion screenings, Images du
Nouveau Monde, CynetArts, Sonic Circuits, the Cuban International
Festival of Music, and the 2004 New England Film and Video Festival.
His work was also presented at the gala opening of the new Disney Hall
in Los Angeles (2003) and at the SIGGRAPH 2001 in the Emerging
Technologies gallery. Recent exhibits of his 3D still images include
the Boston Computer Museum and the Biannual Conference on Art and
Technology, as well as publication in Sonic Graphics: Seeing Sound
(Rizzoli Books) and Art of the Digital Age (Thames and Hudson).
Miller’s music and artworks are available at www.dennismiller.neu.edu.
Moon Young HA (b. 1980) is a Korean composer residing in New York
City. He combines classical instruments, video, and electronics to
create contemporary music. His interests include the organic
development of intervals and narrative structure. His work has been
presented at festivals and concerts in Europe and America, and his
music has been performed by Alarm Will Sound, Empyrean ensemble, LOOS
ensemble, ensemble s21, among others. Currently as a McCracken fellow,
he is pursuing his Ph.D at New York University, Graduate School of
Arts and Science. More information can be found at his website
(http://www.moonyoung.net)

Amorphisms is a continuously evolving sequence of images that are unified by means of a recurring color palette. The musical score imposes an emotive quality onto the images and guides the overall dramatic curve of the piece.

Amorphisms

Dennis Miller received his Doctorate in Music Composition from Columbia University and is currently on the Music faculty of Northeastern University in Boston where he heads the Music Technology program and serves on the Multimedia Studies Steering Committee. His mixed media works have been presented at numerous venues throughout the world, most recently the DeCordova Museum, the New York Digital Salon Traveling Exhibit, the 2005 Art in Motion screenings, Images du Nouveau Monde, CynetArts, Sonic Circuits, the Cuban International Festival of Music, and the 2004 New England Film and Video Festival. His work was also presented at the gala opening of the new Disney Hall in Los Angeles (2003) and at the SIGGRAPH 2001 in the Emerging Technologies gallery. Recent exhibits of his 3D still images include the Boston Computer Museum and the Biannual Conference on Art and Technology, as well as publication in Sonic Graphics: Seeing Sound (Rizzoli Books) and Art of the Digital Age (Thames and Hudson). Miller’s music and artworks are available at www.dennismiller.neu.edu.

Moon Young HA (b. 1980) is a Korean composer residing in New York City. He combines classical instruments, video, and electronics to create contemporary music. His interests include the organic development of intervals and narrative structure. His work has been presented at festivals and concerts in Europe and America, and his music has been performed by Alarm Will Sound, Empyrean ensemble, LOOS ensemble, ensemble s21, among others. Currently as a McCracken fellow, he is pursuing his Ph.D at New York University, Graduate School of Arts and Science. More information can be found at his website: http://www.moonyoung.net

Emmanuel Mailly/Zakaria Haythem

AIRE DE WERNICKE
Mailly Emmanuel (Sounds/France) Zakaria Haythem (Video/Tunisia) Leroux Sandrine (Reader/France)
Area of Wernicke is part of a triptich from the collaboration of two artists.
Haythem Zakaria uses generatives images which follow the music scored by Emmanuel Mailly.
The sound is made by three reading of a Sufic poem,and different instruments. The abstract shapes illustrate the meaning of the poem : Empathy.
Emmanuel Mailly is a french composer, he writes sounds/ experimental music for dance companies, theater companies or artists, with prepared guitar, voice, piezo microphone…
Haythem Zakaria is a young tunisian A/V, using the software VVVV to create images/video following the sounds/music.
They started to work together in the beginning of 2010, chatting in Internet and only in Internet.
They wrote a triptych and started to play live, mostly in Paris for the moment.
In 2012, they’ll create a show with a dance company of Avignon, France.
The project is called “Meta – project”

AIRE DE WERNICKE

Mailly Emmanuel (Sounds/France) Zakaria Haythem (Video/Tunisia) Leroux Sandrine (Reader/France)

Area of Wernicke is part of a triptich from the collaboration of two artists.

Haythem Zakaria uses generatives images which follow the music scored by Emmanuel Mailly.

The sound is made by three reading of a Sufic poem,and different instruments. The abstract shapes illustrate the meaning of the poem : Empathy.

Aire de Wernicke

Emmanuel Mailly is a french composer, he writes sounds/ experimental music for dance companies, theater companies or artists, with prepared guitar, voice, piezo microphone… www.emmanuelmailly.fr/

Haythem Zakaria is a young tunisian A/V, using the software VVVV to create images/video following the sounds/music.

They started to work together in the beginning of 2010, chatting in Internet and only in Internet. They wrote a triptych and started to play live, mostly in Paris for the moment. In 2012, they’ll create a show with a dance company of Avignon, France.

The project is called “Meta – project”

Bret Battey

Sinus Aestum (2009)
For computer-realized video and 4-channel sound
Sinus Aestum (Bay of Billows) is a smooth, dark lunar plain articulated by threads of white dust, like the tips of flowing waves. Drawing from this image, the sound and image composition Sinus Aestum presents one sound-synthesis process and nearly 12,000 individual points, which are continually transformed and warped, restrained and released, without cuts, to form compound, multi-dimensional waves of activity moving through unstable states between plateaus of pitch and noise. Mathematical processes are transformed into a contemplation of the continual ebb and flow of human experience. Sinus Aestum is the third in my Luna Series of video-music works, which explore the potentials of editless composition with a specific custom audio technique (Compressed Feedback Synthesis) and animation algorithm (which involves 2D and 3D rotational algorithms and Brownian noise displacement applied to masses of individual points). These works also reflect a sensibility formed by the experience of Vipassana meditation practices.
<optional technical note>
The visuals were created in high definition with a custom-programmed plugin for Apple’s Motion 3 video effects software. The music was created with custom SuperCollider code implementing specially modified digital feedback loops, controlled by algorithms written in MAX/MSP.
Bret Battey (b. 1967) creates electronic, acoustic, and multimedia concert works and installations, synthesizing a diverse professional and educational background in music composition, computer programming, graphic and web design, and electronics. He has been a Fulbright Fellow to India and a MacDowell Colony Fellow, and he has received recognitions and prizes from Austria’s Prix Ars Electronica, France’s Bourges Concours International de Musique Electroacoustique, Spain’s Punto y Raya Festival, Abstracta Cinema of Rome, and Amsterdam Film eXperience for his sound and image compositions. He pursues research in areas related to algorithmic music, digital signal processing, image and sound relationship, and expressive synthesis, with papers published in Computer Music Journal and Organised Sound. He completed his masters and doctoral studies in Music Composition at the University of Washington and his Bachelors of Music in Electronic and Computer Music at Oberlin Conservatory. His primary composition and technology teachers have been Conrad Cummings, Richard Karpen, and Gary Nelson. He also served as a Research Associate for the University of Washington’s Center for Digital Arts and Experimental Media. He is a Senior Lecturer with the Music, Technology, and Innovation Research Centre at De Montfort University, Leicester, UK. http://www.BatHatMedia.com/

Sinus Aestum (2009)

For computer-realized video and 4-channel sound

Sinus Aestum (Bay of Billows) is a smooth, dark lunar plain articulated by threads of white dust, like the tips of flowing waves. Drawing from this image, the sound and image composition Sinus Aestum presents one sound-synthesis process and nearly 12,000 individual points, which are continually transformed and warped, restrained and released, without cuts, to form compound, multi-dimensional waves of activity moving through unstable states between plateaus of pitch and noise. Mathematical processes are transformed into a contemplation of the continual ebb and flow of human experience. Sinus Aestum is the third in my Luna Series of video-music works, which explore the potentials of editless composition with a specific custom audio technique (Compressed Feedback Synthesis) and animation algorithm (which involves 2D and 3D rotational algorithms and Brownian noise displacement applied to masses of individual points). These works also reflect a sensibility formed by the experience of Vipassana meditation practices.

<optional technical note>

The visuals were created in high definition with a custom-programmed plugin for Apple’s Motion 3 video effects software. The music was created with custom SuperCollider code implementing specially modified digital feedback loops, controlled by algorithms written in MAX/MSP.

Bret Battey (b. 1967) creates electronic, acoustic, and multimedia concert works and installations, synthesizing a diverse professional and educational background in music composition, computer programming, graphic and web design, and electronics. He has been a Fulbright Fellow to India and a MacDowell Colony Fellow, and he has received recognitions and prizes from Austria’s Prix Ars Electronica, France’s Bourges Concours International de Musique Electroacoustique, Spain’s Punto y Raya Festival, Abstracta Cinema of Rome, and Amsterdam Film eXperience for his sound and image compositions. He pursues research in areas related to algorithmic music, digital signal processing, image and sound relationship, and expressive synthesis, with papers published in Computer Music Journal and Organised Sound. He completed his masters and doctoral studies in Music Composition at the University of Washington and his Bachelors of Music in Electronic and Computer Music at Oberlin Conservatory. His primary composition and technology teachers have been Conrad Cummings, Richard Karpen, and Gary Nelson. He also served as a Research Associate for the University of Washington’s Center for Digital Arts and Experimental Media. He is a Senior Lecturer with the Music, Technology, and Innovation Research Centre at De Montfort University, Leicester, UK. http://www.BatHatMedia.com/

Matthew Dotson/Bart Woodstrup

Song Cycle for Haruki Murakami
Audio: The impetus of this work was four quotes out of Haruki Murakami’s novel “The Wind-Up Bird Chronicles.” The intention was to create a kind of pseudo-narrative out of just these four quotes; creating a new story out of fragments of the original. But beyond this, I wanted each movement of the work to be markedly different, thus depending on the visual presence of the quotes for coherency. Sonically, Murakami’s work made it very evident to me that, in the words of his main character, it should be “something concrete” (a phrase he often used to try and make sense out of the baffling world that surrounded him). Thus, the foundation material was derived from several ambient recordings that took place both inside and outside of my apartment in Chicago. These recordings were used to symbolize the “inner” and “outer” worlds; the interactions and tensions between which served to be the conceptual focus of my piece as it likewise was with Murakami. Soloists (cello, drum set, flute, and clarinet respectfully) were added in order to comment on these sonic environments and lend a sense of humanity and drama to the work.
Video: Matthew Dotson asked me to create the video supplement to this piece. His initial request was to have only simple, elegant white on black text. That posed a significant challenge to the creative process, as my goal was to visually link the textual elements of Murakami’s writings with the dynamics of Matthew’s composition. To accomplish this, I visually imitated themes from each movement (“insect wings”, “earth”, “dust”, and “lock”) through animating their elements by properties of the sonic spectrum (brightness, noisiness, amplitude, and pitch).
New Media artist Bart Bridger Woodstrup’s work takes the form of traditional musical composition, real-time interactive audio/video performance, multimedia installation and networked experience. His work lies within the union of electronic sound/image, space/object, and science/technology. A formal training in the visual arts provided the underpinning of his approach to sonic composition, in essence remapping Kandinsky’s studies back onto sound. Symbiotically, Bart’s visual works are often articulators of sonic realizations – a synesthesia.
He holds a Masters of Music from Northern Illinois University and a Masters of Fine Art from Rensselaer Polytechnic Institute. His work is shown regularly throughout the U.S. and abroad, and has been included at Siggraph, Inter-Society for the Electronic Arts, Society
for Electro Acoustic Music, Spark Festival of Electronic Music and Arts, Not Still Art Festival, Version>03, and the Chicago Underground Film Festival.
Matthew Dotson (b. 1981) is a composer of electronic and acoustic concert music as well as music for dance, video, and multimedia/installation. His inspiration comes, in a large degree, from world, folk, and popular music in addition to modern concert music.  Technology is also a major focus of his work, both in creative application and societal implication. Recently he was an artist-in-residence at the Kimmel Harding Nelson Center for the Arts where he finished a work for piano and electronics for pianist Mabel Kwan. Other instrumentalists and ensembles he has worked with include the University of Iowa Center for New Music, percussionist Greg Beyer, flutist Erin Lesser, and bassoonist Stephanie Willow-Patterson. In the past three years he has had over 60 performances across the United States, Europe, and South America. Among his teachers are David Gompper, Lawrence Fritts, John Eaton, and James Phelps. More info can be found at www.matthewdotson.com

Song Cycle for Haruki Murakami

The impetus of this work was four quotes out of Haruki Murakami’s novel “The Wind-Up Bird Chronicles.” The intention was to create a kind of pseudo-narrative out of just these four quotes; creating a new story out of fragments of the original. But beyond this, I wanted each movement of the work to be markedly different, thus depending on the visual presence of the quotes for coherency. Sonically, Murakami’s work made it very evident to me that, in the words of his main character, it should be “something concrete” (a phrase he often used to try and make sense out of the baffling world that surrounded him). Thus, the foundation material was derived from several ambient recordings that took place both inside and outside of my apartment in Chicago. These recordings were used to symbolize the “inner” and “outer” worlds; the interactions and tensions between which served to be the conceptual focus of my piece as it likewise was with Murakami. Soloists (cello, drum set, flute, and clarinet respectfully) were added in order to comment on these sonic environments and lend a sense of humanity and drama to the work.

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Matthew Dotson asked me to create the video supplement to this piece. His initial request was to have only simple, elegant white on black text. That posed a significant challenge to the creative process, as my goal was to visually link the textual elements of Murakami’s writings with the dynamics of Matthew’s composition. To accomplish this, I visually imitated themes from each movement (“insect wings”, “earth”, “dust”, and “lock”) through animating their elements by properties of the sonic spectrum (brightness, noisiness, amplitude, and pitch).

New Media artist Bart Bridger Woodstrup‘s work takes the form of traditional musical composition, real-time interactive audio/video performance, multimedia installation and networked experience. His work lies within the union of electronic sound/image, space/object, and science/technology. A formal training in the visual arts provided the underpinning of his approach to sonic composition, in essence remapping Kandinsky’s studies back onto sound. Symbiotically, Bart’s visual works are often articulators of sonic realizations – a synesthesia.

He holds a Masters of Music from Northern Illinois University and a Masters of Fine Art from Rensselaer Polytechnic Institute. His work is shown regularly throughout the U.S. and abroad, and has been included at Siggraph, Inter-Society for the Electronic Arts, Society for Electro Acoustic Music, Spark Festival of Electronic Music and Arts, Not Still Art Festival, Version>03, and the Chicago Underground Film Festival. www.vodstrup.com/bbw/

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Matthew Dotson (b. 1981) is a composer of electronic and acoustic concert music as well as music for dance, video, and multimedia/installation. His inspiration comes, in a large degree, from world, folk, and popular music in addition to modern concert music.  Technology is also a major focus of his work, both in creative application and societal implication. Recently he was an artist-in-residence at the Kimmel Harding Nelson Center for the Arts where he finished a work for piano and electronics for pianist Mabel Kwan. Other instrumentalists and ensembles he has worked with include the University of Iowa Center for New Music, percussionist Greg Beyer, flutist Erin Lesser, and bassoonist Stephanie Willow-Patterson. In the past three years he has had over 60 performances across the United States, Europe, and South America. Among his teachers are David Gompper, Lawrence Fritts, John Eaton, and James Phelps. More info can be found at www.matthewdotson.com

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