Journey of Life

FILE 2024 | Aesthetic Synthetics
International Electronic Language Festival
Dallaserra Maxime – Journey of Life – France

Journey Of Life was triggered by the death of the artist’s grandmother. There is a message of resignation and optimism in the face of adversity in this work. However, he decided to portray the life of a young man in a futuristic city. The video is rich in details. The strength of artificial intelligence lies in its ability to allow this profusion of images, which would otherwise require the artist an incomparable amount of time to produce.

Bio

Maxime Dallaserra is an electronic music composer who always wanted to produce a comprehensive audiovisual work. In addition to his music creation activities, he managed to create live shows with video projections, accompanied by a team. At the same time, he began broadcasting his creations. With the arrival of artificial intelligence, he found ways to enhance and realize his artistic vision, leading to the creation of Journey of Life .

Sonic Fountain II

An excavation filled with milky water, Sonic Fountain is surmounted by nine taps distributed in a grid which taste according to a precisely written score. In the water, microphones record the sound of drops of water – sound broadcast live in space, like a concert. In the artist’s words, Sonic Fountain “is a deliberately abstract work that bares architecture and reveals its rhythm, tempo and language”.

Moses und Aron
Oper in drei Akten Arnold Schoenberg
.
Jean-Marie Straub
homage
R.I.P
.
Moses und Aron, known in English as Moses and Aaron, is a 1975 film by the French filmmaking duo of Jean-Marie Straub and Danièle Huillet based on the unfinished opera of the same title by c. During its 1975 run at US festivals, it was also known as Aaron and Moses, and was frequently reviewed as such.
It is one of three films based on Schoenberg works Straub and Huillet directed, the other two being Einleitung zu Arnold Schoenbergs Begleitmusik zu einer Lichtspielscene , a short film made directly before Moses und Aron, and, over two decades later, an adaptation of the one-act comic opera Von heute auf morgen. The film retains the unfinished nature of the original opera, with the third act consisting of a single shot with no music as Moses delivers a monologue based on Schoenberg’s notes.The film was shot on location in Italy and Egypt. It utilized the same team of cinematographers as Straub and Huillet’s Chronicle of Anna Magdalena Bach. The soundtrack and cast of the film is the same as the 1974 recording conducted by Michael Gielen (Philips 6700 084).The original German version of the film was dedicated to Holger Meins, a former cinematography student who joined the Red Army Faction in the early 1970s and died on hunger strike in prison. This dedication was censored by German broadcasters for the film’s first transmission in 1975. The English subtitles of Schoenberg’s dense German libretto were prepared by assistant Gregory Woods, who is credited on the DVD.The film was shown at the 1975 Cannes Film Festival, but was not entered into the main competition.

.

cinema full

Loop 60 Hz: Transmissions from the Drone Orchestra
A flock of autonomous DJI copters are programmed as aerial dancers and are mounted with specially engineered wireless speakers to broadcast the instruments of the band. Other copters are dressed in elaborate costumes to disguise their form and reflect light across the audience below. Against a score of original compositions and selected tracks from Cale’s seminal career this collaboration with Young imagines the possibilities of the drones as emerging cultural objects. If these technologies are no longer unseen objects overhead, or propelled along classified flight paths but brought into close and intimate relations with us then how might we see them differently. When their transmission fades, when the drones lose their signal and without their protocols for terror and surveillance, do they drop from the sky, do they fall in love or do the drones drift endlessly, forever on loop.

톰슨 & 크레이그 헤드
Belief
Belief is made from information found entirely on the worldwide web. In fifteen minutes, this two-screen installation presents a series of fragmented broadcasts about belief, all sourced from the video sharing community YouTube. A compass floor projection interacts with the montage showing where each clip originated in relation to the geographical location of the artwork. With a little help from Google Earth viewers are placed at the centre point of this cinematic data visualisation.

MÆ Motion Afterefffect
MÆ – Motion Aftereffect explores motion-capture, ready-made 3D models and monologues found online, ranging from experiences with virtual reality in live gameplay to out-of-body experiences and astral projection tutorials. The work addresses the impact of emerging consumer technologies associated with AR – Augmented Reality, VR – Virtual Reality, MR – Mixed Reality, XR – Extended Reality and 360° video. Monologues sourced from the internet provide the infrastructure for the work; an in-ear monitor feeds Olafson the monologues onstage, challenging her to listen and speak simultaneously. This dual action of listening and speaking enables her to embody a state of presence that references data streaming, live processing, and gaming. As a performer she becomes a conduit, medium, or interface, broadcasting edited monologues from the internet to the audience. The action of performing the work becomes like playing a video or VR game.

Swamp Radio
Swamp Radio gets beyond our anthropocenic reality, and maintains connections between the humans and other species. By artistic interventions and transmitting interfaces, the Swamp Radio is turned into a social media megaphone for invisible and inaudible actors of nature. The artists are installing microbial fuel cells, environmental monitoring sensors and transmitting devices to transform the swamps into dynamic power plants and the 21st century multi-voiced broadcast media.

Maia Urstad, a sound artist based in Bergen, Norway, joined ISIS in 2009 for a 3-week research residency. Maia’s research was based around using and adapting portable radio systems and local FM-transmissions. Maia explored the Northumberland coast where she carried out experiments with multiple radios, broadcastings signals across the North Sea from the cliffs of Howic and the beaches surrounding Bamburgh in an attempt to communicate across the sea, attempting to reach her home town of Bergen.

The Little General Pinball Machine
“One of the most memorable pieces in the 1997 Documenta X was Öyvind Fahlström’s The Little General (Pinball Machine), 1967. Resembling a raised indoor swimming pool with some two dozen movable parts spread out across its shimmering Plexiglas surface, the thirty-year-old “variable” sculpture radiated a visual audacity that made much of the current work around it pale by comparison. Ersatz scoring cues brushed up against cutouts of historical and pop-culture figures, who in turn seemed to jostle dismembered cartoon limbs and partial anatomies. The cumulative effect was dizzying, as if news, commercials, and cartoons were being broadcast in one overpowering barrage.”Dan Cameron

Field of Infinity

Inspired by both Italian Renaissance paintings and contemporary news broadcasts of protests at the border of Gaza with Israel – the work processes human gestures and figures in a landscape into a dark and colorful mix, opening up a series of reflections on the political image, the image of the political, the politics of the image, and the image of the image.

file sao paulo 2019 videoart

Föhnseher
Föhnseher rises from the scrap heap of analog TV. Unlike other televisions, Föhnseher captures and displays images downloaded by people on surrounding local wireless networks. Other people’s phones, laptops and tablet computers all become broadcast stations for this device, replacing the forgotten television towers of old.

Dis-Armor Project

Dis-Armor is the newest in a series of psychocultural prosthetic equipment designed to meet the communicative need of the alienated, traumatized, and silenced residents of today’s cities. It connects contemporary research in two fields: wearable communi- cation technology and prosthetics. In doing so, it counters the dichotomy of the present explosion in communication technology and rampant cultural miscommunication. Dis-Armor offers an opportunity for indirect, mediated communication by allowing its users to speak through their backs. LCD screens, worn on the back, display live images of the wearer’s eyes transmitted from cameras installed in the helmet covering the face. A speaker positioned below the LCD screens amplifies the user’s voice. Attached to the helmet is a rearview mirror, alternatively, a rearview video camera, monitor, microphone, and headphone. These permit the user to see the face and hear the words of the spectator/interlocutor standing behind. Wireless video equipment installed in the helmet further allows two users to work in tandem, showing each other the other’s eyes and broadcasting to each the other’s voice.

الكسندر بونوماريف
АЛЕКСАНДР ПОНОМАРЕВ
A PARALLEL VERTICAL

Chapel Saint Louis, de la Salpetriere, Paris
Installation
Periscope installation with a cable suspension system. Metal, plastic, video optic system, acrylic spheres, sound wave generators.
The keystone artistic project of the Paris Fesitval d’Automne will be realized in September 2007, at the Salpetriere chapel in the center of Paris. A 36-meter periscope hanging from the dome forms a rigid vertical, equipped in the lower part with the head of the periscope with an ocular allows any viewer to look at the Parisian horizon, expanding vision in the spectacular spaces of the cathedral. The real-time video image is broadcast on closed-circuit television to chambers, offices and other buildings attached to the chapel of Salpetriere hospital. The patients, doctors and staff have the opportunity to take in the unexpected view point of the random viewer and peek past the horizon. This project has been organized by the French Ministry of Culture and the Energy of Art Foundation, Moscow

Do You Remember When?

The hole and exposed earth of Do You Remember When? becomes a spiritual, cultural and physical portal – a point of transformation between worlds – from which emerges an Indigenous worldview engaging a discourse on sustainability. The block of concrete on the pedestal – the foundation of the institution constructed on top of tribal lands – functions as a trophy celebrating Indigenous intervention in opposition to a Western scientific worldview. The closed-circuit audio broadcast of a Pee Posh social dance song performed by the collective provides the psychosocial soundtrack of the transformation process. The work shifts the sustainability from a focus dominated by Western science to a balanced approach inclusive of Indigenous knowledge systems.