The Netherlands Media Art Institute presents in collaboration with 5 days off MEDIA the exhibition and performance series Crosswire. Crosswire comprises sound installations and audiovisual environments enabling immersive and spatial sonic experiences through bodily and multi-sensory perception. Whilst the various works offer different points of access to experience sound, they all unfold their architectural or sculptural quality in the gallery. As a result, compositions become perceptible as holistic phenomena. Crosswire is curated by Maurizio Martinucci (aka TeZ)on the basis of the Optofonica platform which is devoted to the presentation of the current state of art in synesthetic media and sound spatialization.

Performances and screening Crosswire

The Avatar Orchestra Metaverse (AOM) performance on the opening night features virtual instruments designed specifically for each composition created for the Orchestra within the Second Life platform. They are played by artists from all around the world making live music together. AOM’s concert includes the beautiful and powerful THE HEART OF TONES (mixed reality version) by iconic composer Pauline Oliveros (aka Free Noyes), and the mesmerizing composition FRAGULA by sound artist Björn Eriksson (aka Miulew Takahe).

The performances from Sagi Groner, Aernoudt Jacobs, Telcosystems and Francisco Lopez take place within the installations so access is limited. Please make a reservation: info [at] nimk.nl

PROGRAM PERFORMANCES
2 July
7:30 pm: Avatar Metaverse Orchestra
8:30 pm: Aernoudt Jacobs

3 July
7:30 pm: Sagi Groner

4 July
7:30 pm: Telcosystems

5 July
8:30 pm: Optofonica screening

6 July
7:30 pm: Aernoudt Jacobs
8:30 pm: Francisco Lopez

Opening hours during 5 days off
3 - 6 July from 1:00 – 7:30 pm. After the festival regular opening hours Tuesday - Saturday from 1: 00 - 6:00 pm Entrance 2,50 (1,50 with discount). With festival passepartout and day ticket free entrance until July 26th.

5 days off
2 - 6 July, Amsterdam
Paradiso, Melkweg, Heineken Music Hall, Netherlands Media Art Institute www.5daysoff.nl

5 days off MEDIA is made supported by the Mondriaan Foundation and the Nederlands Fonds voor de Podiumkunsten, Powered by BeamSystems

5 days off is sponsored by Heineken Refreshing Sounds

Netherlands Media Art Institute
Keizersgracht 264
1016 EV Amsterdam
The Netherlands
http://www.nimk.nl

The Netherlands Media Art Institute presents in collaboration with 5 days off MEDIA the exhibition and performance series Crosswire. Crosswire comprises sound installations and audiovisual environments enabling immersive and spatial sonic experiences through bodily and multi-sensory perception. Whilst the various works offer different points of access to experience sound, they all unfold their architectural or sculptural quality in the gallery. As a result, compositions become perceptible as holistic phenomena.

Crosswire is curated by Maurizio Martinucci on the basis of the Optofonica platform which is devoted to the presentation of the current state of art in synesthetic media and sound spatialization. http://www.optofonica.com

Performances and screening Crosswire:
2 July 19.30 hour: Avatar Metaverse Orchestra
20.30 hour: Aernoudt Jacobs
3 July 19.30 hour: Sagi Groner
4 July 19.30 hour: Telcosystems
5 July 19.30 hour: Optofonica screening
6 July 19.30 hour: Aernoudt Jacobs
20.30 hour: Francisco Lopez
Please make reservations info@nimk.nl

5 days off
2 - 6 July, Amsterdam
Paradiso, Melkweg, Heineken Music Hall, Netherlands Media Art Institute
http://www.5daysoff.nl

Works by: Aernoudt Jacobs, Sagi Groner, Kaffe Matthews, Telcosystems, TeZ & Janis Ponisch
Thanks to: Mondriaan Stichting and the Nederlands Fonds voor de Podiumkunsten, Powered by BeamSystems

5 days off is sponsored by Heineken Refreshing Sounds.

Netherlands Media Art Institute
Keizersgracht 264
1016 EV Amsterdam
http://www.nimk.nl

ISSUE Project Room is thrilled to host pioneering multimedia artist Joshua White and his legendary Joshua Light Show for a week of unique audiovisual collaborations. The residency will involve White’s iconic projections alongside an incredible roster of musicians, with a different musical genre represented on each night of the residency. The Joshua Light Show involves a team of video and light artists, led by White and his senior collaborator, Bec Stupak (Honeygun Labs) to improvise live synesthetic visuals behind a giant rear projection screen, involving the “liquid light” techniques he developed at Bill Graham’s Fillmore East during the late 1960s. In addition, each performance of the light show will feature contributions from a different live-cinema artist, including Seth Kirby, Zach Layton, and Mighty Robot A/V Squad. The residency is curated and produced in collaboration with Nick Hallett and concludes a month of programming at IPR devoted to the Ecstatic Moment.

May 28 ALL-STAR EXPERIMENTAL IMPROVISATION Ikue Mori (electronics), Zeena Parkins (electric harp), Lee Ranaldo (electric guitar) and Marina Rosenfeld (electronics)

May 29 NORTH INDIAN RAGA and TALA (co-presented by Chhandayan) Pandit Samir Chatterjee (tabla) and K.V. Mahabala (sitar)

May 30 FREE JAZZ with Albert-Ayler-inspired quartet, Spiritual Unity Roy Campbell (trumpet) Henry Grimes (bass), Marc Ribot (guitar), Chad Taylor (drums)

May 31 ELECTRONIC MUSIC Soft Circle (Hisham Bharoocha) and Invisible Conga People (Justin Simon, Eric Tsai)

$20 General-admission floor seating (available at the door before each concert) $30 Reserved chair seating can be arranged by email: reservations [at] issueprojectroom.org All performances begin at 8pm.

ISSUE Project Room at the (oa) can factory 232 Third Street at 3rd Ave, 3rd Floor, Brooklyn, NY 11215 F, G to Carroll; F, M, R to 9th Street-4th Ave (718) 330-0313 (venue)

For media inquiries, contact Suzanne Fiol, (718) 812-1129 (cell) For Joshua Light Show inquiries, contact Nick Hallett, nick [at] harknessav.org Images available upon request.

ISSUE Project Room’s Joshua Light Show Residency is made possible through Presentation Funds from the Experimental Television Center. The Experimental Television Center’s Presentation Funds program is supported by the New York State Council on the Arts.

Soundtoys Remixed, the title of the performance that Mackern will offer to the MADRE audience, will deal with Net surfing and (real-time) remix of 40 of his soundtoys developed between 1997 and 2007. Mackernian visions will flow through the (real-time) projection on three different screens, while the surrounding sounds will hold the audience in a synesthetic embrace that will shake new reflections about the increasingly more hybrid nature of the reality we face everyday.

SOUNDTOYS / AUDIOVISUAL INTERFACES

“… Just listen to your eyes.”
Wim Wenders, Once

Brian Mackern was born in 1962 in Montevideo (Uruguay) and after technical college he started to explore the potentials, mainly sound-related, of the Web. In 1997 he became the director of Artefactos Virtuales #1, one of the first latin-american web spaces about the research and the development of Net Art projects, while in recent years he appeared among the creators of Netart_latino #2, a database whose aim was of both documenting the work of south-american netartists, and building a link between their various experiences, that risked to remain isolated in a continent that tends to keep its artists attempts “unincorporated” #3.

The sense of belonging to a specific culture and the bond with the roots are a key element to the work of Mackern. Central from this point of view is the reinterpretation of the so-called “Tormenta de Santa Rosa”. The worship of Santa Rosa from Lima in the Rio de la Plata area is celebrated in the last days of August, when the place is hit by frequent floods and big rains. These natural phenomena are associated, in the popular belief, to the presence of the Saint, and Mackern provides a personal reading of the cult in his project 34s56w.org #4.

Mackern works have been presented in biennals, festivals and exhibitions at the four corners of the world (Uruguay, Argentina, Mexico, Spain, Italy, Germany, Great Britain, Poland, Korea, etc.) and he was also prized with many awards in the above mentioned countries in over 10 years of artistic activity.

Brian Mackern is definitely an artist of the Net generation and his research is to be collocated within the tradition linked to some creative experimentations about the relationship between audio and visual objects (think about the vanguards of 1900), but it is now, in the Web, that it finds its best ground to get - finally ? depth and visibility. Thanks to the opportunities introduced by new digital tools, the dialectic tension between sounds and images has become object of endless reflections and investigations, all connected to the process of spreading of new cultural paradigms. Among them — above all — self-consciousness and self-sufficient life of the digital objects.

Within this frame, soundtoys is the personal answer of Mackern the artist to his need to find new ways of mediation between sounds and images. Every soundtoy, pure minimal meaning unit, can be remixed to others, paving the way to a complexity that, by perpetually multiplying the combination chances, becomes almost impossible to be seen as finite and leaves to the observer the task to complete the meaning of one among many possible trajectories.

#1 Artefactos virtuales experience developed from 1997 to 2002 ? http://www.internet.com.uy/vibri
#2 http://netart.org.uy/latino
#3 This is the way Alessadro Ludovico talks about Brian Mackern in an article for the austian magazine Spingerin [Noise at Margin - http://www.springerin.at/dyn/heft_text.php?textid=1667&lang=en]
#4 http://34s56w.org

text by Vito Campanelli - translation by Francesco Bordo

Media partner:
Neural - www.neural.it

In collaboration with:
Supportico Lopez - www.supporticolopez.com
Interferenze Festival - www.interferenze.org

Bringing together 3 Software’s - VVVV, Max/MSP and Reason the WiiWiiWiiWii thesis project provides a system allowing for a set of Wiimotes to become a syneasthetic musical instruments. WiiWiiWiiWii looks like fun – it uses the Wiimote and Nunchuk to produce sounds and their graphical counterparts. The representation of sound comes in the form of a branch like structure with ‘notes’ growing from it – a kind of real time evolving organic score. [blogged on dataisnature]

WiiWiiWiiWii was produced by Claudio Midolo, Edgar Castellanos, Natan Sinigaglia & Pedro Mari.

Suggested topics include (but are not limited to):
-economies of VJ technology
-art historical takes on the rise of the VJ
-haptic cinema and synaesthetic approaches to live video mixing
-semiotics and/or aesthetics of contemporary audiovisual collaboration
-possibilities for using VJing for social change
-human-computer interaction
-the role of festal culture in promoting VJ culture
-mapping, precision, and subjectivity in relationships between visual and aural elements
-interactive video installation
-collaboration strategies, processes, and concerns
-working conditions of the VJ
-critiques of VJ performance content
-copyright, Creative Commons, file sharing, and sampling
-crowd-based interaction techniques
-writing custom VJ software with programs like Max/MSP/Jitter and Pure Data
-alternative user interfaces (e.g. biofeedback, MIDI controllers, Google Image search, etc.)
-relational aesthetics
-the role of the Internet in facilitating critical dialogue between VJs
-gender, race, age, and class concerns
-generative video
-vintage equipment vs. emerging technologies on the market
-education and information-sharing vs. trade secrets
-why VJing is so darn fun
-future movements in VJ culture

Vague Terrain is an emerging quarterly web-journal which solicits and showcases works from a range of international artists, musicians, and writers. Our intent is to stake a claim which samples the focus and methodologies of academic and art journals while commissioning parallel excursions into the sonic realm. Content usually consists of a mix of visual art, audio, and text curated by Neil Wiernik and Greg J. Smith. On this occasion, for issue 08: Rise of the VJ, guest curator Carrie Gates has been invited to select content for vague terrain. Heading into its eighth issue, Vague Terrain is currently attracting an audience of about twelve thousand visitors a month and has been receiving press and support from a diverse range of online communities and print publications including rhizome.org, we-make-money-not-art.com, Wire, and earplug.

Each issue of the quarterly examines a specific theme and all invited artists have been asked to submit work pertaining to this topic. Since Vague Terrain is a non-profit, unfunded entity, all submitted work will be published without compensation. We understand that everyone has bills to pay and a fixed amount of time they can dedicate to pro-bono work. With this in mind we are open to recontextualization or showcasing of past projects if they relate to the quarterly theme. Ideally, we would prefer that some new work is done specifically with our invitation in mind.

As a general rule of thumb for all submissions, vague terrain welcomes the recontextualization of past work, but the onus is on the contributor to obtain permission to (re)publish material online if the rights belong to another publication, label, journal, etc.

Dates: If you are interested in participating, please send a brief email describing the audiovisual project, critical text, or interview you would like to propose to Carrie Gates at otherartists [at] gmail.com by November 14. Please also send a weblink to any other related work of yours that is relevant to your proposal. Selected creators will be confirmed via email on November 17. The submission deadline is December 30. The issue will launch in mid-January. Technical specifications.

About the Curator: Carrie Gates is a VJ, sound artist, educator, and academic from Saskatoon who has been producing work over the last 12 years for independent electronic music events, public galleries, artist-run centres, festivals, conferences, academic institutions, and symposia. Her work often deals with subjects such as synaesthesia, situationism, and the fantastic, using/abusing technology as a means to tease out diverse perceptions of social and psychological space. With the assistance of a Production Grant from Soil Digital Media Suite, she is currently working on an interactive installation work utilizing EEG biofeedback as a controller for a Jitter-based video system, investigating the paradoxical relationships between consumption, capitalism, and human-computer interaction. Her artwork and academic research has been shared with audiences across Canada, as well as in Germany, New Zealand, and the United States. Gates also is a Co-Director of the BricoLodge net.label, and is employed at the University of Saskatchewan as a Multimedia Programmer.

http://www.otherartists.com
http://www.youttube.com/carriegates
http://www.myspace.com/thesoundsofcarriegates
http://byteme.net.au/spea05.html
http://www.notype.com/bricolodge
http://www.vinylinterventions.com

Screen Music is part of the program of the Creativity Festival, an event promoted by the Tuscan Region and organized by Fondazione Sistema Toscana. With an exhibition space of approximately 40,000 square meters, 400 events, 1,600 artists and speakers from over 40 countries around the world, the Festival program includes meetings and debates with great representatives of modern culture, the world of art and design, and the Italian and international music scenes.
In the broad fields of contemporary experimentation, within the new mixed media disciplines / subjects, Screen Music presents a varied group of artists (performers, video artists, musicians and designers) protagonists of the most advanced electronic audiovisual research, in the many of its possible declinations, considering this ear also the possible means of dialogue between “digital” and “material” aesthetics.

The first edition of Screen Music focused on the analysis and description of the most modern forms of electronic audiovisual interaction in terms of projections and live performances; the second edition of this review in the location of the Teatrino Lorenese, wants to point out the need of a reflection on the audiovisual aesthetics of tangible, of effectiveness, of manual character and analogic mechanicalness, in a period of excessive digital over-stimulation and exasperate techno-fetishism. A step backwards, a moment to reflect and stop, a return to physicalness of action, to underline the possible alternative ways of audiovisual creativity that, operating now for many years, assume a reason and a creative and operative value thanks indeed to the deep antithesis that they keep in opposition to the reigning digitalization of artistic instruments and creative aesthetics.

It’s above all the part of Screen Music 2 followed by Marco Mancuso / Digicult, Saturday 27/10 and Sunday 28/10 that focuses on these dynamics, thanks to some audiovisual performances where synaesthesia within music and video is realized through the dialogue between the sound produced with mechanical instruments and electrical and physical processes and the image that visualizes what happens on the stage, staging a direct relation in between the resonant source and the visual perception of the audience.

In this direction moves also the last project Popular Mechanics of the pioneering musician Pierre Bastien produced by Aphex Twin’s Rephlex Label, Italian absolute preview, where a system of motors, filters, paper instruments, pulleys and Mecano pieces build up the rhythmic and hypnotic base of an audiovisual concert in the form of cinema-verité unique in the whole world. And more, the where the electromagnetic camp produced by the two projectors creates the audio backstage when it interacts with the graphical patterns designed by the same artists on special projected slides, for an audiovisual performance in real time completely improvised and absolutely genial. The Americans Lou Objects are instead within the most important representatives on an international level of the circuit bending aesthetics, art of improvising audiovisual situationist performances through circuiting in real time electric and electronic elements, whose screen visualization constitutes a hypnotic element of fascination for the present audience.

The Italian school is represented in Screen Music 2 by Mylicon/En, who characterize themselves visualizing the processes deriving from a set of analogical and mechanical instruments, able to produce sounds digitally sampled and edited in real time. The club part of the two nights is in the end entrusted to two completely different but at the same time fascinating projects: on one side the 8 bit aesthetics of the collective from New York 8BitPeoples, present with its representatives Bit Shifter and Nullsleep with the visuals of the French Otro, that thanks to a wise manual work of hacking and circuiting of Game Boys and old Commodore, Atari and Amiga consoles, will lead the audience to an irreverent dance audiovisual delirium on the sounds and images typical of modern micromusic. On the other side the icon, body art performer and dj Franko B, will measure himself with the software artist and vj Sanch Tv in a live audiovisual set astride between techno music and generative art.

Finally, the opening night of Screen music 2, on Thursday 25/10, followed by Abdrea Mi/Videominute together with the staff of RE::LIFE, will be a night totally dedicated to join and weld the audiovisual connections between the best “old school” of hip hop and dj culture (represented by the sampling percussionist Steinski) and the most promising guard of the electronic scene (excellently represented by the Swiss Dimlite and by our Costa) visualized live by the graphic evolutions of the Spanish Iglesias Heras. Tommy Boy, Antidote, Ninja Tune, Stones Throw, Sonar Kollectiv are just some of the basic labels with whom the artists involved in this project have recorded and this will also be the occasion to verify the creative path that begins in the end of the 70s and arrives to the next future, twining styles an sounds in between cymbals and samplers, laptops and videomixers. From the Hip Hop Old School to the Abstract Hip.

PROGRAM::

THURSDAY 25 OCTOBER - cured by Andrea Mi/Videominuto
23.30-00.15 - Costa (Ita) + Pintaycolorea (Spa)
00-30-01.15 - Dimlite (Svi) + Pintaycolorea (Spa)
01.30-03.00 - Steinski (USA) + Pintaycolorea (Spa)

SATURDAY 27 OCTOBER - cured by Marco Mancuso/Digicult
00-30-01.30 - Mylicon/En (Ita)
23.30-00.30 - Loud Objects (Usa)
01.30-03.00 - Franko B (UK) + Sanch Tv (Fra)

SUNDAY 28 OCTOBER - cured by Marco Mancuso/Digicult
00.30-01.30 - Pierre Bastien (Fra)
23.30-00.30 - Mikomikona (Ger)
01.30-03.00 - 8 Bit Peoples: Bit Shifter & Nullsleep (Usa) + Otro (Fra)

PIERRE BASTIEN - Composer and multi-instrumentalist with transalpine origins, Pierre Bastien creates electro-acoustic sounds using mechanical toy-musicians in strange conglomerations of pulleys and BONGOLETTI, rough spring-loaded gears and little motors, near to the tradition of surrealist bricolage. The final results lead back to improvisation music and to ethnic traditional musicality: click and bass drum, electronic melodies and mutant trumpets as contour to the many micro-percussions, elaborations quite free and released from the usual stylistic standards at the point to thrill also Squarepusher and Aphex Twin that wanted Pierre Bastien with them in the respective English and Italian tours. It is a unique combination of experimentalism, melody and sound-art that even though keeps a happy and suggestive pleasantness in listening. With the new project the cinema-verité of Pierre Bastien is characterized by paper drums, paper organ and by sheets of paper that alternate with the usual Meccano pieces and circuits, for the audiovisual portrayal exalted by the sweet and romantic intervention of the jazz trumpet played live by the same musician.

MIKOMIKONA is a Berlinese duo composed of Andreas Eberlein and Birgit Schneider. Their audiovisual performances, imprinted towards a strict minimalist aesthetic harshness, are real sessions of experimental laboratory during which the duo concentrates on the physical transformations of sound to image and vice versa. Driven experimentalism, liveness and strong scene impact are the uprising characteristics of their works, designed in the balance between deepened theoretic consciousness and technologic research. The instruments that they use in live shows can be overhead projectors equipped with home-built analogical devices that read and transform into audio signals the bedding of optical layers of the slides, or strange machineries with the 16mm.

FRANKO B, born in Milan and living in London since 1979, has created projects using languages such as video, photography, performances, painting, installations, sculpture and mixed media since 1990. his performances have been hosted in spaces such as the Tate Modern, ICA, South London Gallery and Palais des Beaux-Artes, Brussels, while he held lessons at the St. Martins School of Art, DasArt, New York University and the Courtauld Institute of Art. Already two biographies have been written on his artistic career: ‘Franko B’ (Black Dog Publishing 1998) e ‘Oh Lover Boy’ (2001). The most recent publications of the artist are a photographic book titled ‘Still Life’ (2003) and the monograph Blinded by Love while his latest projects are on the web: www.franko-b-mentoring.co.uk, www.de-mentored.blogspot.com. Since 2004 Franko B works as dj.

BIT SHIFTER explores the energy of low definition music composed and performed on a Nintendo Game Boy. The result is an enjoying and evocative sound performed on a platform that everyone thinks technically limited. Bit Shifter’s music, whose realization is allowed by software designed by Oliver Wittchow and Johan Kotlinski (nanoloop and Little Sound Dj), defines a low budget aesthetic where a minimal hardware equipment is pushed further to the limit of its expressive potentialities. Based in New York, Bit Shifter has produced music for 8bitpeoples, 555 Recordings, Mirex, Ketacore e Astralwerks, performing in many live sets around the world.

NULLSLEEP - Co-founder of the collective 8bitpeoples, Nullsleep creates a pop and romantic sound using old electronic devices trying to avoid their technical limits. Sweet melodies and intense rhythmic pulses are produced and lead through small plastic instruments in an evocative audiovisual research but never nostalgic. His recordings with 8bitpeoples, Astralwerks e Aniplex have made of him one of the most famous artists on the international stage. Based in New York, Nullsleep has performed in live shows between America, Europe and Asia, participating also to the dates of the International Chiptune Resistance World Tour in 2006.

OTRO - Otromatic is a vj that creates visuals using old amiga computers and mobile consoles. His artistic research moves in between the 8bit experimentation, science fiction of low cost kind and influences from the historical vanguards to create dynamic and evocative visual catalogue. Very active as a graphic designer, realizes musical covers and projects of coordinate image for many labels.

MYLICON/EN is a duo that rises from the collaboration between the videomaker Lino Greco and the musician Daniela Cattivelli. Since 2002 the duo has started a route leading to experimentation of new ways of interaction between live images and sounds inside a device in the balance between digital dematerialization (referring with it also to the whole experimentation of the last years around the phenomena of VJs and livemedia) and the return to action physicality. Live exhibitions characterizes itself for the use of “analogical” and mechanical sources and instruments of various kinds ad origin. A kind of work that touches different fields and subjects, Mylicon/EN finds space in festivals and reviews of various kinds: from contexts essentially tied up with electronic music to vjing festivals, from art galleries to performatory and theatrical arts. Moreover Mylicon/EN has realized various video that appeared in many international festivals and different video installations.

Sanch Tv is David Dessens a French freelance designer who creates software for meso.net: instruments for video synthesis in real time that use physicalinterfaces and full-developed instruments between motion graphics and audio scores. His live visuals surprisingly react to the music they visualize, and since it generate patterns and sequences of images that adapt themselves to the space and location. His scientific and mathematic studies produced performances that play with 3dabstraction in creating fluid and unexpected shapes.

LOUD OBJECTS - Tristan Perich, Kunal Gupta e Katie Shima are Loud Objects, electronic noise group of musicians, artists and architects that build digital circuits on the stage with welding and microchips. The action takes place directly on an old projector, that makes the assembling smoky and transparent, that runs hand in hand with low level circuits that create the music. The first five minutes of their set are usually characterized by complete silence due to the building of the starting circuit, that explodes in the end in a dens a real sound. But don’t think that these small circuits create light sounds. noise is hard and heavy, modeled and modulated each time with the addition of new chips to the low-fi system.

DIGICULT is a cultural project involved in digital culture and electronic arts. DigiCult project is directed by Marco Mancuso and based on the active participation of 40 professional people about, who represent the first wide Italian network of journalists, curators, artists and critics in the field of electronic culture. And on a multitude of updated strategies around new media communication and networking activities. DigiCult is a web portal but is also the editor of the monthly magazine DigiMag, discussing with a critic and journalistic approach, about net art, hacktivism, video art, electronica, audio video, interaction design, artificial intelligence, new media, software art, performing art. DigiCult produce an electronic music and audiovisual podcast and the newsletter international service DigiNews. DigiCult is involved in side-activities like media partnerships and journalistic/critic reports, consultancy and curatorial activities and artists international promotion.

http://www.digicult.it/digimag_eng/index.asp
http://www.digicult.it/podcast/
http://www.digicult.it/en/Credits.asp

The music is a result of different experiments. The diversity of musical genres should support the expression of the pictorial context. The of the older medium Super 8 is chosen conscious and stands in contrast to the digital sound material. The working progress was done with structural paintings on blank film. The colour lay on was proceeded in different kinds, with diverse brushes and wood sticks. This film tries to make a synaesthetic experience, which is created through the rhythmic interaction of symbols with music. The music removes the narration as a form of complete code. [via]